Interior 3D Design, Modelling & Rendering In Blender

1. What's It all About Introduction: Hello. My name is Eddie Harding, and I'm a professional three D modeler and three D artist, working in the sup yacht industry now for 11 years. In this course, I will show you how to create your own interior designs. I'm going to show you how to model it and texture it and set up your own lighting and make your own amazing renders and animations. And I'm going to show you how to do all of this using the super powerful and completely free software of Blender. I want to show you that making your own renders really isn't that difficult. I'm going to teach you how to simplify the process and show you what you need to know to get started and not what you don't so that you can quickly learn how to create your own amazing projects to impress potential clients in the future. We will start off by learning the basics of Blender, such as moving, scaling, and learning to navigate the user interface. Then we will import our reference images, position, and scale them and make them semi translucent. In the modeling section of the course, we will take things nice and slow to begin with. We'll be using our reference images. We'll start by creating our walls and our windows, and I'll show you how to model efficiently to optimize your workflow, but also to keep your mesh as simple as possible. Then we will model our cabinets, using our reference images again to make sure that we have convincing world scale. After that, we will start modeling our oven. I'll show you how to use the mirror modifiers so that you can make things symmetrical and save time. I'll show you fast methods to create more tricky shapes such as springs and texts on objects. I'll show you how to use advanced techniques to make realistic looking curtains and how to set up your cloth modifiers. Once we finish modeling our kitchen, I'll teach you the basics of UV mapping. I'll show you how to use smart UV project, and I'll show you how to create seams on your objects to optimize your UV maps. Next, I will show you how to apply the texture sets that are provided with the course and also some next level tricks such as making procedural textures and using Ambient Occlusion and how to use the node wrangler to save time applying and scaling your texturing. Next comes the really fun bit. I'm going to show you how to create still renders and really impressive animations. I'm going to show you how to set up your camera and how to use the timeline and more next level tricks, such as having doors and drawers open and close in your animations. Finally, we will take the animations we've created and edit and compile them in Blender zone video editor to make one super cool animation. This is without doubt, one of the most comprehensive interior render animation courses available. After this, you'll have all the skills you need to create your own amazing interior renders and animations to impress potential clients or have a foundation knowledge to start a new and exciting, rewarding career in three D modeling and photorealistic renders and animations. Thanks for watching this video, and who knows? Maybe I'll see you in lecture one. Bye bye, Fino. 2. Lecture 1 Introduction: Hello, and welcome to Lecture one on this interior three D modeling and rendering course in Blender. My name is Eddie. I'm going to be instructor for the next I think it's 86 lectures. I'm a professional three D modeler, working in the Subi yacht industry now for over 13 years. So at the end of the course, this is what you're going to have or something similar to this. It might be that you take it your own way and do things a little bit different. And I hope you do I encourage you to do so. But at the end of the course, you should have something looking like this, if not better. And it's my job to guide you through the process and get you all the way to the end. If for any reason you're struggling with any elements of the course, please don't hesitate to contact me, and I'll do everything I can to help you with it. It's in my interests to make sure that you enjoy this course and you get everything from it. So please don't hesitate to contact me. And thank you, by the way, thank you for purchasing this course. I really hope you enjoy it. And I think you will, and I'm sure you'll learn lots as we go. Okay, so the reason for Lecture one is just to show you what's included in the course and give you an idea of what you're going to be doing. So this is what the end result will look like. What I need to do now is show you what's included in the course to help you achieve this. Okay, so I think the first thing I want to show you is the reference images which are included in this course, which we'll use to scale our kitchen, to make sure that we real world scale in our kitchen. So what I kind of mean by that is to make sure that our kitchen cabinets are approximately about a meter high and that our doors are about 2.2 meters high, et cetera, et cetera, to make sure that we're real scale, real world modeling our course. So let me just go ahead and bring the reference images now, which are included in this course. They're attached actually to a lecture seven as one of the resources. So within this reference image set, we have, let's just go ahead and open up the first one and show you what they are. So this is the front elevation showing the bifolding door. Let me just scale this up. And this one we won't be using much, but we will be using at the start to get the overall size of a bifolding door. The next one, this is the most commonly used reference image we'll be using, which is what we call a sectional image, which is like a slice through of the kitchen showing the height and the sizes of the kitchen cabinets. Let's move on to the next one. So again, this is the side elevation, showing the single side door and the scale and the size and the position of the window. And we'll also be using this floor plan, another section showing a slice through our kitchen showing the sizes of our cabinets, full height, larder cabinets on this side, and our base cabinets and our island and the size of our chimney. And we'll also have this image, which is the rear of our kitchen, and that's it. That's all of them. So these are all included in Lecture seven, and in Lecture seven, I'll show you how to input these into Blender and how to scale them and position them for us to be able to use to construct and model our kitchen. Okay, so that's that bit. That's all included. Let's go ahead and close this now. And the next thing I want to bring in is the texturing. So I'll go ahead and drag those in as well. And included in the course is this set of textures here. So we have bricks, and we have a brick wall, and we have basins, cabinet paint, curtains, floor table, lamp brass, marbles, oak beams, et cetera, et cetera. So these textures are yours now for you to use in this project and any other project that you do in the future. And this is attached to a later lecture when we start applying textures. We have options here, let's say, on the brick wall. So we have an aged brick, but we also have a slightly newer brick. So as we go, we can go ahead and choose our own textures a little bit that we want to use. Alright, so I'll go ahead and close that. And there's one more thing that I want to show you. And this is completely optional, but it's something that I always do at the start of any project. So I'll go ahead and drag this in. And this is called My Moodboard. And before I create a new project, I need a little bit of direction. So the first thing I do is sort of create a collage of images to give me some ideas of what my kitchen will look like, and give me some inspiration and some direction. So, I use a free piece of software called PureRef to create my mood boards. It's completely free. And then I generally my favorite source for images is Pinterest. And on PITRSt, I can simply just drag and drop images and scale them into my PureRef moodboard. So I encourage you to do the same, but, of course, it's you don't have to, but it is a useful tool and a useful exercise to do to start creating your own mood boards to give you some inspiration of what your kitchen is going to look like. And incidentally, these images here, this one, this one, this one, and this one and this one are the images, the sort of the keystone images, the images that have given me the most inspiration to create our kitchen. And also sort of recognize ones like this as well as we go. And, yeah, I recommend sort of doing the same thing, creating your own moodboard to give you some inspiration in this project, and more importantly, in projects going forward. Okay, so I'll go ahead and drag this out the way, as well. That's kind of it for Lecture one. It's just an introduction to what we'll be doing over the next 85 lectures to create this gorgeous looking kitchen. All right, thanks very much. I'll see you in the next lecture. Bye bye, Fino. 3. Lecture 2 Blender Intro: Hello, and welcome now to Lecture two. And in this lecture, what I want to do is introduce you to Blendo. I want to do a little bit of a sort of a show you around what we've got here. And if you're looking all these buttons and tabs and sliders and you're thinking, Wow, I will never learn all this. Don't worry. We're going to get through this together, and we're gonna have a lot of fun as we do it. Blender is an amazing piece of software. It's really limitless with potential. And the fact that it's free is just amazing because it's just so powerful. There's other software out there with the same sort of stuff on it that you pay a lot of money for. And the fact that blend is free it's just brilliant. And it's like I said, it got so much potential, and there's a really cool community of people using blender that are really talented. One thing I would suggest you do is maybe just go onto YouTube and look for blender animations and watch some of them. And you'll get a clue of what blender is capable of it's amazing. My personal preference, one I would suggest is called Blender charge. I'll blow you away. It'll really just blow you away. The level of quality in that is exactly the same, if not better than high budget full length movies, animations, that is. It's just brilliant. I won't give the plot awake. That's a nasty thing to do, but definitely watch it. If you're not watching it right now, after I've said that paused it and gone away, if you have, then please enjoy it. If you haven't stick around. Sorry, I'm waffling already. That's something I do. Please excuse me when I do that. Okay, let's get back on track. Let's talk about Blender for a minute. So, what have we got? The first thing that you see is this, which is called the splash screen. And the splash screen you'll get if you open a new project in blender or you're opening blender for the first time. It just has some basics on here, maybe some previous projects, if you've been using it before, a little donate if you wish to give some money to the blender, and you can be able to recover last session if it crashed and some basic settings. To be honest, I never use it. So I'll just click anywhere else, and it'll go away. So the next thing I want to say really is, I pride myself in taking things nice and slow because I think it's really important that no one feels rushed. I don't want anyone to have to stop and start, stop and start and rewind and play again. I want you to be able to just follow along at the same pace and never feel intimidated or rushed. So I take things nice and slow. And only after you've had some time to develop some skills and you're starting to become used to blender, then I start to speed up a little, but never too much. Okay, now I've said that, let's move on. So what have we got here? We've got right now, we've got a camera, a cube, and a light, as you can see in the scene. And what Blend is doing for us is it's created a basic scene for us to be able to render straight away from or animate. Everything is here for us to be able to do. And the next thing I want to do is I want to set up blender to be a little more friendly towards us. I personally find that everything is a little small, especially for me, I look at screens 12, 14 hours a day. So I I need the resolution to be a bit bigger and all the sort of texts to be a bit bigger too. So what I do is I come up here to edit, and I'll go to preferences. The first thing I'll do is go to Interface up here. Click on this. And on Resolution scale, I'm going to take that up to I take it up to 120. It's an individual thing. If you want to go smaller or bigger, you can, that's up to you. But my personal preference is about 1:20. That feels good to me. After we've done that, let's go over to system, just here, and let's go into cycles render devices. Now, here we're able to set up a little bit of our settings towards our GPU. So I have an invidia GPU, so I have to highlight it. I make sure that it's not the opposite way around. I don't want my CPU highlighted and my GPU nut. I want the GPU highlighted. I could have both. I don't personally see any huge benefit. I've tried it like this. Nothing really speeds up. So for me, I de my GPU. And just above, we have these settings here, and what these are are settings dedicated to the type of GPU you have. For me, I have an invidia I use CUDA, or I could use Optics, but I prefer the CUDA settings. If you're using a different GPU to invidia, you could go ahead and Google cycles render devices which setting for my GPU. Then you could figure out which one you want to use Optics, HIP, one API, or CUDA. So once you've done that, come on down a little bit to memory limits and under undo steps, go ahead and max this out. There we go. The max is 256. So what undo steps does is allows you to go back 256 commands. So I'd put that at the maximum. In case I've run into trouble, I can go back the maxim. It does seem a bit ridiculous to have 256, but if not, why not? It runs a little bit more ram memory, but in my opinion, it's worth it. There is that odd occasion when you want to go back quite a lot. So once you've done that, we can go ahead and close that. Okay, once we've done that, there's one more thing I want to do. I want to come up here to this tab. Incidentally, if this tab is not seen, you can just go ahead and press N and it'll come up and it'll go away if you press N again. Now, within that, go down to view. It's upset to say it's in item. Just click on View and come here to clip Start and add an extra zero to the right of the decimal point. The reason I do that is if I zoom in on an item, the standard settings in within blender, you kind of clip through this item a little bit too early and see inside it. It's a little bit more than my personal preference. So by adding another zero, I can get a little bit closer before I clip through into the inside of the component. And that's something I personally. Okay, so that's all the changes I want to make at this time. So now that I've done that, I'll go up here to file and to default, and I'll save startup file. That means whenever I start a new project or open blender, it will open with these settings that I've just put in place. So I'll go ahead and save Startup file. So I'll say overwrite main startup file, overwrite. And there we go. So now, how we set up Blender right now will be the way blender will always set up open when we create a new project or open previous projects. Okay, so the next thing I want to talk about is this actually, before I talk about this, I just want to mention one thing to everybody. So your screen might look slightly different to mine. I do have this extra tab up here, and I have this little thing here on the side, this extra tab here. You probably don't have that right now. It's an add on that you can add to blender called Blender kit. And Blender kit is a source of free and pay for assets. And textures and HDRIs. And it really is a super efficient way of importing assets and textures into blender. It's just set up with blender to work perfectly. So this is something we will be using. Don't worry. It's free. The add on is free, and then the majority of the assets are free, too. So it's super useful. And I'll show you how to add this add on later. So don't worry that you see this extra bar at the moment. Okay, so let's get back on. So the next I want to talk about is this one here, which is called the tab. And if you don't see it, you can press T on your keyboard, and it'll appear or disappear. And I don't want to show you all the functions on this because like I said, a lot of this stuff we'll learn as we go. But there is two that I want to show you. And the first one is already highlighted. It's this one here, and this is the selection box. So what you do with a selection box or how you use it is if you hold down the left button on your mouse and then drag, you create a selection box around an object that you went over with your selection box. So in this instance, I've actually selected the cube, so I'll just click anywhere else to deselect, and I'll do that again. I'll hold down the left mouse button and drag a selection cube over the component I want to select. So I could do it maybe with all three this time. I'll just hold down the left mouse button and select all three of the items. Let's say I didn't want to select this camera. If I hold Control and do a selection box again, I can deselect the camera. So now I just have the light and the cube selected. So this is the selection setting on the tab bar. If I left click on this and hold the left mouse button, I get this come up, and this is a different style of selection. So if I use the select Lasso, I can now create a shape kind of similar to photoshop around an object to select it. I don't personally use these much, but maybe you prefer. I think it's a personal thing. I prefer just the selection box. I don't find a reason for using another form of selection. But now, you know, so there's the asso, and you have a circle version as well. Okay, so I'm going to go back to the selection box. There we go. The next thing I want to show you is called the Gizmo. So that's this one here, or in this case, it's called the Move Tool. But the move tool shows you then or allows you to show the Gizmo on your screen on your viewport. So the Gizmo is a tool that's used in almost all three D modeling software. It's given different names such as the gumball and stuff like that, but it's basically the same. It's called the Gizmo. As you select an object, the Gizmo will appear if you have the move tool selected here, on your tab bar. And this is generally where I'll leave my if I'm generally, most of the time, this is what's selected on my tab bar just here. So let me explain the Gizmo to you. As you can see on the screen now, we have this red line, and we have this green line. And even though you can't see it, there is a blue line going vertical as well, directly up. And these are called the axes. So the green line is actually referred to as the Y axis. And the Y axis runs forward to back the red one is called the X axis, and this allows us to move left to right. And the blue one is called the Z axis, and that allows us to move up and down. Now, if we move along an axis, we are moving exactly at 90 degrees. We're moving right at exactly nine degrees, left at exactly 90 degrees, forward or backwards. We're not going slightly left or slightly right. We are going exactly at 90 degrees to the opposite axis. So if I go ahead and hover, let's say over the z axis here now, the blue or the Z, and then left I and hold the left mouse button, I can move up the cube up and down in the z axis. If I go ahead now and press escape, I will snap back to the center. So I could do that now with maybe the X axis. I'll press the left mouse button, hold down whilst hovering over the red arrow of the Gizmo, and I can move now left to right. I'll deselect again. And now let's move forward or back, so I'll hover over the Y axis, press down or hold the left mouse button, and move forward to back. I'll press escape to snap back to the center. Okay, so now we know the move tool or the Gizmo, as I refer to it. Okay, so that's all I want to show you on the tab as we're working, we'll use the measure tool a little bit, and we might use the cursor positioning a little bit. But those will sort of learn as we go. The next thing I want to show you is the different ways of viewing inside our viewport. There's four settings for how we see inside this viewport. And those can be seen up here in the corner. So at the moment we are in solid mode, this is the standard mode that we use in blender. This is the easiest mode to model in. Other than that, we have the wireframe mode, which is just here, so I'll click on this. And this is, as is self explanatory, really, the wireframe mode. So no longer do we see the surfaces, we see just the edges of the object. This is a really useful tool because it allows us to select, let's say, this far bottom corner, but whilst viewing it from maybe this angle, which if we were in solid mode, we couldn't see that far corner. So that allows us to be able to select multiple points, even though we couldn't potentially see them in the other view modes. What I'm going to show you now is the shortcut for this. So if I press Z on our keyboard, we are in wireframe. I'm now going to go back to solid. And the next I want to show you is called Material Preview. So I'll press SED again for the shortcut, and we'll click on MateialPreview. Material preview is a lighter version of the rendered object. So generally, it's not as a detailed render as the full rendered mode, but it does give us an idea of what textures we're applying to our components. And finally, we have the full rendered mode, so I'll press set again, and I'll go to the full rendered mode. So in this mode right now, as you can see, we can't really see much. But if we had a texture applied to this object, we'd see that this is in the full rendered mode. We'd see the maximum detail that we can on this object. It does get even better when we render, but within this viewpoint, rendered is the highest detail level that we can see. Well, see, you might ask yourself, why don't we not just stay in rendered mode all the time. The reason being because your computer is doing something right now called real time rendering. So as we're moving the object around, where the computer is constantly reconfiguring the textures on the surface, reapplying them. And at the same time, it's constantly considering light, how light will interact with the surfaces, what reflections will be there and what bounces and reflections will be put in place. And it's doing all of that constantly when it's in render mode. It's constantly real time rendering. It is quite taxing on your computer, so we generally don't stay in it all the time. I'll go back into the shaded view in the solid view, sorry, so I could do it just here. I'll click on it just there or we could have pressed SD and gone back in that. Okay, so what's the next thing that I want to show you? I think the next thing I want to show you is right here. This is called the outliner. So the outliner is basically a list of all the components that we have in our scene. So at the moment, as you can see, we have our camera and our cube and our light. If I go ahead and select the cube, it highlights here in the outliner. Do the same now maybe with a light, and there you go. I can do that in reverse. I can select the light here, and it will go ahead and highlight or select the light in our viewport. As we have more and more and more components and our scene becomes more detailed, this will get quite a long list. So we need to apply quite a lot of discipline in here, naming our objects and creating subfolders to be able to keep everything organized so that, let's say, our cabinets, we have a folder for our cabinets named cabinets and we have a subfolder for our oven, and we have a subfolder for our lights going on, et cetera, et cetera. So we'll do that. I'll show you how to organize our outliner to make sure that it's sufficient and not confusing. The next thing I want to show you is this one here, and this is the Properties tab. And this is the important thing here on the Properties tab right now is this little set of tabs here. And we will be using these quite a lot. Not all of them, but quite a few. This one here is our render properties. This will allow us to set up our renders how we want them to be. This is our output properties. This will allow us to set things like the amount of frames that we have when we render animations, the resolution of our renders, and where we're going to save them, and a few other things as well. We have quite an important one here. If you select a component, we have this one, which is the modifiers tab. So this is where all the modifiers are. So this is how we're going to be able to change. And it's basically a set of tools to be able to model with. And modifiers are something that's called nondestructive, which means that anytime you can go back and you can make changes to that component. Without having to go back commands. So it's a really beneficial thing. Once you apply modifiers, then they're permanent. But while they're not applied, then it's called non destructive modeling. We're able to go back at any time and adjust things. We also have things like the particles tab, and we have our physics tab, which we'll use for creating our curtains, and this one is our materials tab. So this is one of the tools we'll use to be able to create materials on our surface on our components. So this is an area as well we'll be looking at quite a lot. The next I want to show you is this tab right here. And the one I want to show you the most at this stage is the item tab. So I'll click on this. And what this is is is basic information about this component. So a cube in this case, is telling us the size of the cube, so it's 2 meters by 2 meters by 2 meters, and it's telling the scale and most currently one to one. It has zero rotation on it, and the location is 000. So 000 refers to the point in which all our axes, our X, our Y, and our Z cross. That is the zero point of the scene. Or another name for that is world origin. It is the world origin, the zero point of our whole model or our whole viewport. So we could go ahead and change the location by simply sliding this across. So right now we're moving it in the X axis, and we could move this let's say 10 meters or 5 meters. We can do whatever we want. I'll go ahead and press Escape to take that back into the middle. And there we go. So that's what I want to show you in this one here. At the bottom here, we have what's known as the timeline, and we'll be using this towards the end of our course. This is where we will set up our animations. Here, we're able to move our camera through a sequence of frames to set up a nice animation. So we'll be using this towards the end, but for the majority of the course, this is something we'll not be using. Okay. So that is the end lecture two. Hopefully, no one's feeling too intimidated by this. And for the next few lectures, we'll go ahead and learn the basics of blender, how to navigate in it, and how to move components and some more basic commands. Okay, thanks very much. And I'll see you in Lecture three. Bye bye for now. 4. Lecture 3 Basic Commands: Hello, and welcome now to Lecture three. And in this lecture, what I want to do is just show you some more basic functions of blender. So in this function, what I want to show you is how to move, how to view an item from different angles and how to scale. So let's go ahead and make a start with that. So I think the first thing I want to do is let's go ahead and select and delete our camera and our light. So again, if you hold down the left mouse button, drag a selection square over the light, and then go ahead and just press Delete. Do the same with the camera now. Let's go ahead and select that and go ahead and delete. And, why don't we just do the cube as well so that we can import a new object and learn how to do that? So let's select the cubes. We can actually just select it it just by clicking on it. And now we can go ahead and just press Delete and so we've got an empty scene, and you can see and outline it as well. We have nothing in the scene. So now that we've done that, let's press Shift A. Let's go on to mesh here and another window will appear. And let's introduce Let's introduce Monkey. Let's introduce that I'll left click on that. And there we go. Monkey is in the scene. By the way, this monkey's name is actually called Susan. It's a little blender icon, a little mascot of blender. It's been around for years. I don't know who originally drew it, but, yeah, it's called Susan. And I introduced the monkey because if we just have a square, it's almost, well, it is impossible to understand if we're viewing it sometimes from the top or the bottom, the left or the right since all faces are equal. So by introducing a shape like this, we can tell which angle we're viewing it from. Okay, so now let's go ahead and talk about how we view the object. So first of all, we can literally pan round the object. So if I hold down the middle mouse button or the scroll wheel, and now just push the mouse around, I can go ahead and pan round the monkey. I can go ahead and look up, and I can look down. So the monkey is not actually moving. It's not rotating, it's staying absolutely static. It's us altering the angle of the viewport. So if you like, it's us moving around the monkey. Okay, so that's cool. So no, the next thing I want to do is talk about what's called orthographic views. Now, orthographic means that we're looking at something directly from above or directly from the front or directly from the side or directly from the bottom looking up. It's called the orthographic view. So if you like, we're centered exactly on the X axis or the Y axis or the z axis, and looking straight down the axis directly at the monkey. So how do we do that? Because that's quite important for us because we're going to be using reference images to scale and to model our little kitchen. So we need to be able to look at it orthographically. So the first thing what I'm going to say is, let's go ahead and press seven on your numpad of your keyboard. That is how we look at our monkey directly above. We're looking straight down the z axis now directly on top of the monkey. Now, if we go ahead and press Control seven, we can look at it directly from the bottom. Okay, so that's the first one. The next one to show you is if we press one on an pad, we can see it directly from the front. And if I press Control one directly from the back, these are the orthographic views. If I go ahead and press three now, I can see it from the side. And if I press Control three, I can see it from the opposite side. So by using those commands, we can see our objects orthographically, directly from the top, the front or the side. Incidentally, it's just a suggestion it's completely up to you, but sometimes it's a good idea to make written notes of some of the commands we go over so that at any stage, if you forget any of these shortcut commands, you've always got written notes to be able to find them. Rather than searching back through lectures, trying to find that point where we talked about different things, maybe it's a good idea to make paper notes. It's completely up to you, but it's a technique that I use. Okay, so let's get back on track. So now that I've done that, the next thing I want to talk about is how to move an object. And I think we briefly touched on this on the last lecture. So we'll go over what we learned to the last lecture for moving, and then I'll show you some different ways of moving as well. So if you come over to the tab bags here and click on the move tab so that we have the Gizmo introduced again. So we can go ahead and use the Gizmo to move. So we can just slide that back in the Y axis to there, maybe. And now we can go ahead and slide it over in the X axis. And we could take it up in the Z axis. And there we go. We've moved the monkey over to the one side. So maybe you want to bring it back to the zero. So to do that, we could cancel our previous commands. So to do that, we can press Control Z and Control Z again and Control Z one last time, and there we go. We're back in the original place that the monkey. Okay, so now let's go over now, select this and let's click on item. Now we can adjust its location here in the transform tab. Let's actually make this maybe 5 meters. And in the Y axis, let's go ahead and make this 5 meters. And in the Z axis, let's go ahead and make this 5 meters. So we've got ahead and moved back 5 meters on the y axis. We've moved right 5 meters on the X, and then 5 meters up in the set. Now we can go ahead and go back to zero. We could press Control Z to go back on these commands. Let's go ahead and use the location command. If I select the top one here and then hold down and select all three like this, I can make the command in one go. I'll go ahead and press zero and click Enter and we've returned to the zero point. That's a little bit of time saving over entering each one individually. Go ahead and left click the first one, and while still holding the left mouse button, drag down to the others, and then we can go ahead and make our change. This time, I'll go 2.5 in all axes and moved it over. Okay, so that's moving using the transform tab. I'll go ahead and press Control Z to go back to the original settings. There we go. There's one more way of moving in blender. And this is when we start to need to know our axes or start using our knowledge of our axis. So I'll select the item. And by doing this, the benefit of using G coordinates now is we don't need to have the cursor on the item. So I'm going to go ahead and press G for Grab. I'm going to go ahead and press X to move in the X axis. And you can see the X axis has actually gone bolder now, and now we're moving in the X axis. So I'm sliding the mouse left to right. But I'm not hovering over the component. So we could go ahead and enter a number now, so I'll go ahead and enter 2.5 and enter. So we've done those commands without actually having to touch the component without having to click on anything here or make any adjustments right here. So maybe I'll do that again now. I'll press G. This time, maybe I'll go back in the Y axis, so I'll press the Y button, and I'm just going to go ahead and push the mouse back. I'll do it manually this time. I could even look up in the location tab and see how far I've gone back, and there we go. I've gone back about 10 meters. And there we go. So that's how I done it. Maybe I'll do it one more time, so I'll press G and then Z, and we're moving in the Z axis up. And there we go. And maybe I'll go up 2.7 and click Enter. And there we go. We've gone up 2.7 meters in the Z axis. Okay, that's cool. So I'm going to go ahead and press Control Z until the monkey comes back to the world origins to the zero point. Okay, so the next thing I want to talk about is scaling an object, scaling the monkey in this case. So if we go ahead and select our monkey, and we can go over to scale here on our transform tab, we can hover over the X axis, hold down the left mouse button, drag down to select all three boxes, and then push them mouse sideways, and we can scale up like that. And we can see the dimensions increasing at the same time on the column below. So that's our one way of scaling an object. Okay. So the next way we have of scaling an object is select the object so that the gizmo is showing, and then we can go ahead and press S to scale the object. And you can see us scaling some more. So now the monkey is actually 20 meters wide on the X axis and 12.5 meters on the Y axis, and 14.5 meters on the d axis. So now I want to show you how to scale up but non uniform, meaning that we're not going to scale up equally on all three axes at the same time. So we'll select the item again so that we can see the gizmo. And now I'm going to go ahead and press S, followed by Y, and just scale up in the Y axis. And there we go. Got a kind of a strange shape there. Now let's scale up just in the X axis. Sell press S, followed by X, and go ahead and scale up this way. Now let's scale up in the Y axis. So I'll press S. I'm sorry. Now I'll scale up in the z axis. So I'll press S and then Z and then go and scale up again. So by doing that, we've scaled up non uniform. We've scale up in just one axis at a time. But there's one more way to do this. Maybe I want to scale up in the Y axis and the X axis, but not in the Z. I want to make it wider and longer, but I don't want to make it taller, so we can do that as well. Let's select the monkey. Let's press S, and then hold down shift and press Z. Now we're just going to scale up in the X and the Y axis. And you can see those axes have actually been highlighted. Now we can scale up like that, but we're not scaling up in the z, so we're making it no higher. Okay, so now let's go ahead and return the scale of our monkey to its origins. So let's go ahead and select the top the X axis. Hold down the left mouse button and drag down to all three like this. Let's just press one and enter, and there we go. So now we've returned the monkey to its original size. Okay, so the next thing I want to show you basically is how to rotate an object. So this is quite easy as well. If I go ahead and select the monkey and make sure that the move tool is selected so that we can see the Gizmo, it'll just give us a visual reference. And if I go ahead and press R, we can rotate the monkey. But there's no control over that. As you can see, it's not moving along an axis. It's just moving quite randomly. So that would be very difficult to control the rotation. So I'll press escape to snap back to its origins. This time, I'm going to rotate it on an axis. So I'll press R and then I'll press Z to rotate it on the Z axis. Now I can rotate the monkey directly on the Z axis, much more controlled way of rotating Susan. We can go ahead and do the same. So we can press R and now Y and go and rotate the monkey on the y axis. We'll press escape to zero. And of course, we can do the same on the X. So if we press R, then X, we can go ahead and rotate in the X axis. And there we go. That's how we rotate. If we hold down control, we can snap incrementally on our rotations. So now we're moving in five degree rotations. We can see that and the transform bar just here that it's rotating in five degree increments, which can help us control it when we're modeling a little easier. Okay, I'll press Escape and go back to our original position. Okay, so there's just one more thing I want to do, and that's to show you how to duplicate an object. So let's go ahead and select the object. And let's press Shift D, and we'll go ahead and grab a copy and bring it over like this. And there we go. We've got a copy of the monkey. And you can see here in the outliner now, we have two. We have the original, Susan, and we have Susan 01, the copy. Maybe if we want to next time we make another copy, but make sure we move in an axis with it. So I'll select the object, and we'll press Shift D. Then I'll press X, and I'll move the copy monkey over directly in the X axis. And I know now that Susan is directly in the same line as the original. So let's go ahead and use our numpad now and press seven to look from above, just so that we can see that the third one is in exactly the same position on the X axis, whereas this one has moved back a little. Okay, so I think that's plenty to learn in the first lecture, but it's quite good stuff to know. This is all quite fundamental to blender. Alright, thanks very much. And in the next lecture, I think I'll go ahead and show you a few modifiers. Okay, thanks very much. I'll see you in the next one. Bye bye, Fine. 5. Lecture 4 Subdivision Surface Modifier: Hello, and welcome now to Lecture four. We're going to talk about something called the subdivision surface modifier. And this is a really important tool within blender, and it's used generally in almost all mesh based modeling softwares. So whether it be TDS Max or Maya or blender, they all have a subdivision surface modifier or a variation of that. What the subdivision surface modifier actually does is it increases the complexity of the mesh of the component. So we have to sort of figure out how to use that without making the mesh of our item too much. And I'll show you that and show you how we do it. So let's left click anywhere to get rid of the splash screen. And then let's hold down the left button, drag a selection square over the light, and press delete, and do the same with the camera and press delete. So we've just got the cube. So now let's actually select the cube, and let's just pull it to one side. Using the Gizmo, we hovered over the little arrow there, and we left clicked, and then we grabbed it, and we pulled it over. Let's actually add a monkey now. So let's press Shift A and mesh, and the monkey. There we go. And the monkeys come in. Let's reselect the monkey. And now let's press Shift D. And let's press X because we want to move the copy we've just created using Shift D on the X axis. So we'll do that. There we go. Let's do that again. So we've still got that monkey highlighted. Let's press Shift D, and it's gone white to symbolize that the copy has been made. Let's press the X button to move the copy in the X axis, and then let's just slide the mouse over. We've got three copies of the monkey. Here we go. So I'm going to press down the shift button and the middle mouse button and just grab the whole thing and bring it over to sort of center ourselves. Okay. So let's select the cube. And it's a cube, isn't it? It's a very simple structure. It's got eight sides. I'm sorry, it's got six sides, and it's got eight corners. Let's press the tab button now. What that's done it's put us into what's known as the edit mode. And whenever we do any modeling, chances are we're going to be in the edit mode. In this mode, we can actually move the sides. We can add sides. We can do pretty much everything within the edit mode. We can do some basic things in the mode we were in before, which was object mode. We can scale and we can rotate. But anything beyond that, we will do here in the edit mode. At the moment, if you look at these three items here, we have this one here, which is the vertex selection. The vertex or the vertices, if it's the plural, is the junction points between the edges. So it's these little dots. So we have this edge, this edge, and this edge, the three edges, they're joining in the middle, and at that point, we get a vertices. This one here is edge selection, so let's press that, and then we can select an edge. There we go. I'm just left clicking on an edge to select it. And then finally, I'll go to this one. And this one, this is face selection. So now I'll left click on that and I can select a face. There we go. I'll go back to this one to vertices, and all I really want to demonstrate is the simplicity of the mesh on that cube. It's as simple as it can get right now. So let's hit the tab button to go out of Edit mode back into object mode. Let's select the item again, the cube. Let's go over to here to the spanner, which is the modifiers. Let's add a modifier, and we will add a generate modifier, and we will add subdivision surface. You can see what that's done. It's actually taken that cube and turned it into a very basic sphere. We could actually here we could go over to this Levels viewport, and we could just click that up and we could make it an even nicer sphere. And what we could do then is right click on the item with it selected, and we could go to Shade Auto smooth and we could smooth out even more. So that is what the subdivision surface modifier does is it takes all the edges and smooths them out as much as possible. But we need to learn how to control that because obviously we need to figure out how we can use that tool to model accurately to what we want to build. So to do that, what we're actually going to do is first of all, turn on this one on cage. So select that. And then hit the tab button on the keyboard. First of all, select the cube, then hit the tab button on the keyboard, and you can see we've got this mesh again. So how can we turn this into rather than being a sphere, a cube, but with softened edges, with rounded edges. So let's go here so we can select edges. Let's select this edge here and then press Control R. And that's put a set of extra edges in a loop of edges on that cube or sphere, as we can see it right now. Just press the leftmost button once, and that's applied to our cube. And you can see straight away what that's done by adding some extra framework to it, it's restricted the amount of movement for the subdivision surface modifier. It's put some extra framework there, and the subdivision surface modifier has to listen to that and adjust the way the curves are being added. Let's actually just move the mouse up and take that curve closer to the top and then select that there. Let's select this edge here, press Control R, and then hit the left mouse button once, and then bring the mouse down. So that do it anywhere around about there and left click again, move away from the object and left click again to deselect that item. And there you go. You can see what we've done. So let's do that again. So let's select this edge now. Press Control R, and let's add an extra ring of edges there. So left click. And I'm going to move that over there like that. There we go. And go to select this edge. G to press Control R. Left click once, and then move the mouse over. There we go. And I'm going to drop that just there like that. Cool. Let's hit the tab key to go out of Edit mode. And you can see what's happened. So we have a cube now with some softened edges. Let's go ahead and apply that. So hit that button there and press the apply button. So we're going to apply the subdivision surface modifier. There we go. So you can see now how we can actually use the subdivision surface modifier to our advantage to soften all the edges, create new shapes, but still have some say on what actually happens. So let's see what we can do with Susan now using the subdivision surface modifier. So first of all, with this first one, you can see that this is really faceted. It's really jagged edged and quite crude. And this is what we call low polyly. So if we go ahead and select it and then hit the tab key, we can see what mesh has been used to build this monkey. So let's go up here to the vertices. Vertice selection one, press that. And you can see the verticesi that we have within the monkeys quite basic. Low poly. But the more edges and the more vertices and the more faces we have, the more complex the model gets. And the more complex the model gets, the harder the computers got to work to be able to model it. And then also to render it when we start plying textures. We have to keep that in mind because as we build on our scene or environment, if we make the mesh too complex, we're going to get to a point where your computer or blender just can't handle it anymore. It'll just get too complex. So we always have to keep the mesh as simple as we can whilst also keeping the model itself looking as realistic as possible. So it's a balancing act between keeping the mesh low but also keeping the model looking good. So what can we do? Let's hit the tab key again to go out of Edit mode back into object mode. Select Susan, right click and shade auto smooth. Once you've done that, just come on down to this corner here, click on this expansion, and just adjust this angle slider until you get the whole thing, the whole monkey smoothed out nicely. So I think I will go About there like that, about 85 degrees. So this angle slide simply adjusts the tolerance of angles that the auto smooth will affect. And there we go, I'll leave it just there. The shade auto smooth does not actually affect the mesh. We've not increased the complexity of the mesh at all. It's purely Blenders little visual trick. It's just lying to us a little bit about the surface. It's visually improved it, but it's not increased the complexity of the mesh. So that is a good way of actually just improving our model without increasing the complexity of the mesh. So let's apply the subdivision surface modifier to this one. So I'll go there. We'll just select on the item, so left, click on the monkey, go over to here, click on the spanner. Add modifiers, generate modifiers, subdivision surface modifiers, and we will keep that at its absolute basic. So we'll just keep that at one. So we'll leave that like that. Actually, let's apply it. So let's apply that subdivision surface modifier, and there we go. But then let's also add the shade auto smooth. So you can see straightaway the improvement between the models. So we have a standard model with just the shade auto smooth. Now, for this one, we've applied the most basic level of subdivision surface modifier, and let's see what can do with this one. So let's click on this one, and let's add modifier, generate subdivision surface modifier, and let's click this to the top. There we go. And then let's apply that So let's hold down the left button and pull a selection window over all three monkeys. Let's hit the tab key to go into Edit mode. And there we go. It took a minute because now we've got some differences in the mesh. We've actually loaded our computer up quite well now with quite a lot of polies. So at this one. This is the first one, which is the low poly version. You can see that our mesh is really simple. Our vertices are as minimal as possible. We're actually keeping a reasonable shape. And we've applied the auto smooth to that to improve the looks of our model, but we've not increased the amount of vertices or faces or edges. So here, we've applied the subdivision surface modifier at its most minimal level. And then we've applied the auto smooth, and you can see straightaway how much nicer this one looks, but you can also see that there is an increased amount of vertices, faces, and edges. Here we've maxed out the subdivision surface modifier, and it just appears black. It's not black. It's just that it's so dense with the vertices, edges and faces that it appears black. But if we zoom in, there you go. That is a lot of vertices. So that's my point that you cannot just just max everything out on subdivision surface modifiers. It will eventually just crash your computer or crash blender. Because if you think about this kitchen scene we're going to build, we need to constantly consider the complexity of the mesh. So all the time, we have to consider the mesh that we're building and the complexity of the mesh and keep the items looking as good as possible, but at the same time, keep the mesh as low as possible. So low poly, keep the vertices as a minimal level, keep the faces and the edges, at the least we can do whilst keeping our actual modeling looking good. So that is the subdivision surface modifier. I'm gonna delete this one straightaway and let my computer breathe. Thanks very much. And I'll see you in the next lecture. Bye bye, Fino. 6. Lecture 5 Basic Modelling: Hello, and welcome now to Lecture five. And let's have a first go at modeling. Let's see if we can model something together, something very basic. Let's see if we can do a sort of a cabin, sort of pioneer cabin. Let's see what we can do with that. So first of all, just click anywhere to remove the splash screen, and we have the camera, and we have the light. And let's go ahead and delete those. So we just grab a selection box around the item by holding down the left mouse button. Pull over selection, and then just press X or delete. There we go. So now we just have the cube. So you've got hopefully this view up here. And if you haven't, press N on the keyboard to get it. There we go. And then go ahead here and click on item. So we want to look at this cube. Now, let's actually set the proportions of this house. So I'm going to make it in the Y axis. I'm going to make it 10 meters. I'm gonna press Enter, and there it is 10 meters. And then in the X axis, the red line, I'm going to make it half. It's Y axis. So I'm going to make it five and Enter. And I'm going to make it in height 3 meters and click a. So right now, the house isn't at ground level. It's half and half. So let's press one on the numb pad of your keyboard. Come over here to the tab and go to move selection. There we go. And now just pull it up on the z axis until it's level with the top like that. There we go. And there we go. We have as our basic size for our log cabin. Okay, let's have a look here. So it is in the X axis, which is the red line, it's 5 meters wide. In the Y axis, the green line, it's 10 meters wide. And in the height in the Z axis, it's 3 meters. I'm happy with that. But the scale is out now. So the scale should still read one, one, and one since we haven't scaled the item. We've just changed the dimensions. So let's fix that. So if you hold down Control and press A, you'll get this apply box up and come on down to rotation and scale and click on that. Before I do want to explain. So the rotation, actually, when we look at it is zero, zero, zero. So the rotation is correct. But I always just as a standard thing to do, always click on rotation scale. In case there is an issue with the scale in the future of different items we work with, it's instantly corrected too. So rotation and scale, there we go. Alright, what to do now? Let's go ahead next and put some height to this. So the first thing I'll do is I'll tap into Edit mode. I'll hit tab on the keyboard. And right now you can see we've got vertices selected. So I want edge selection. So I can come up here and I can click on this like this. But I'm going to start using the keyboard for my shortcuts. So I'm simply going to press two on the keyboard, and now we have edge selection. If I press one, we get vert C selection, two for Ed selection, and three for face selection. You can see it changing up there as I press one, two, and three. I want two, so I'll go there. I'm going to select this edge here, but a hold shift so I can select more than one edge and select this one. I'm now going to right click and I'm going to press on subdivide. And that's simply divided that face into two halves. It's divided these edges into two, so it's divided the face into I can now select that edge there in the middle. Come over here, make sure and move, and just pull that up. And I can actually press one on the keyboard to see it from the exact orthographic view of the side and carry on pulling that up in the Z axis. I kind of want my ridge of my roof to be offset. So I'm going to pull it over in the X axis now to get kind of an offset ridge. There we go. And that's kind of our very basic log cabin shape. The next thing I want to do is actually grab a copy of this. So I'm actually going to just grab this face here. So I'll press three on the keyboard, grab this face, hold down Shift and grab this one. And now I'm going to press I'm going to make a copy of this. So to do that, I'm going to press Shift D. And now I'm going to press Z, and I'm going to pull that copy up in the Z axis. And there it is moving straight up in the Z axis. Now I want to take that and separate it from the model of the walls. So while that's still selected, I'm going to press P, and I'm going to separate by selection because we have these items selected, so I'm going to press separated by selection. There we go. I'm now going to hit the tab button to tap out of Edit mode back into object mode. And now we have two cubes. We have this one and this one, and you can see here in the outliner, this one and this one. So let's go ahead and name that. So here, this is I'm going to call this the walls. So I'm going to come up here to this cube because that's the one that's selected here, so it's selected there. And double click on it, and I'm going to call it the walls. There we go. Whoops. Walls. That's got it. Now we're going to collect this one here and I'm going to double click on it, delete that and call it the roof. There we go. Now the outliner is ordered for us. We have the walls and the roof. There we go. Let's have a look at the roof, and the scales all correct and the rotations collect, so we're happy there. So let's go ahead and give it some overhangs. So the first thing I'm going to do is scale it in the Y axis. I'm going to press S. Now if I scale just by doing that, it scales the whole roof. And I don't want to do that. I'm going to press escape to sup that command. Gonna press S again. And this time, I'm just going to press Y. So it just scales in the Y axis to give it overhangs on the side. That's cool. That's what we want. Now I want to make it overhang on the front and the back. A lot more on the front, 'cause I want to create like a stoop on this house. Let's tap into Edit mode with that, so I'll select it. I'll hit the tab button. I'll press two so we can go into edge selection, and I'll grab this edge here. Now, the Gizmo is not lined up with the surface. So if I go ahead and pull that in the X axis, it's changing the angle of the roof, so it's not going to match up with the walls. We don't want that, so I'm just going to press escape to cancel that command. And I'm going to come up here now to this one transform, transformation orientation. I'm going to hit the drop down, and I'm going to click on normals. And now the gizmo lines up with the surfaces of this roof. With that done, I'm going to pull that out to create a stoop on the front of our property. I'm going to do the same, but this one now, pull that out to create a little overhang on the back. And here on transformation, I'm going to go back with Global so that now the gizmo lines up again with the X, Y, and Z axis. Okay, let's actually know. Change the angle of the stoop where it meets the roof point. So how do we do that? If we do it now, it's going to change that whole roof pitch, and we don't want that. So I'm gonna press escape. Gonna select this edge here. Go to hole shift and select this one. I'm going to right click and I'm going to sub I'm going to go ahead to the transformation again and go to normals and go ahead and pull that down. Whoops, grab this one on its own and pull that down until it's level with the wall. Maybe change the angle to see where that is, and that's good. So I'll grab this one here now. And I'm going to go back here to transformation to Global and just go ahead and pull that up to change the angle of the roof that. Okay, that's good. That's what we want. Let's tap out of Oded mode, and the scale slightly out. So let's press Control A and apply the rotation and scale. And now we're going to add our first modifier to this roof or to this first thing. So let's go over here to the spanner, add modifier. Generate, and we'll come down here to solidify and click on that. And that's added a small amount of thickness to our roof. I'm actually just going to hover over this until we get this horizontal arrow and just drag this in the negative until we get a bit of roof thickness. So I've got 0.13, and I'll make sure that even thickness is applied. There we go. I'm happy with that. So I'm going to go ahead up here, hit this drop down and apply there we go. I'm going to press three on the numpad now to get us an orthographic view. Actually, I'm going to press one to see this from the opposite side. There we go. G to grab my roof, and I'm going to pull it down until it's making contact with the walls. And there we go. That's looking good. So now let's go ahead and put some doors and windows in this. So to do that, really, we need to create some extra mesh. So that's our next step. Let's tap into Edi mode with the walls. Let's select this edge here, hold down shift and grab this edge. And now let's create an extra edge there. So we can either subdivide, but in this case, we're not going to. We're going to press Control R, and that gives us a nice edge between them. And now we'll go ahead and take that up like this. Let's actually view this in the orthographic view, so I'll press one. I'll press three. And now let's grab this edge again now. Hold shift and grab this one. And now let's press Control R. And I'm going to scroll the mouse wheel once to get an extra line in there like that. And there we go. Let's have a look at that. Let's grab this line here and take this one down quite a ways like this. Something like that. Let's grab this line and take this down. And there we go. Maybe let's take this one up a little bit. Something like that. Let's grab the bottom edge here of our house. And now let's press Control R again. Take the cursor closer. There we go. And now just bring that over until it's on the corner here like this. Let's do that again. I'll press Control R and drag that over until we've got about a door's width, something like that. And now let's do it a little quicker. Let's press Control R. Bring the cursor close so you see the loop. Before you left click, scroll the mousewheel once to get two loops, and now left click and just position those something like that. There we go. That's good. So now let's go ahead and create our stoop on our property. Let's press three on the keyboard so we can select faces. It's changed to faces just there. Now, I could actually just hole shift and move along selecting these. But it's not too bad. We've only got a few faces, but let's do this. Let me show you an easy way of doing this for future. So I'll select that first edge. Now we'll hold down Control, go on to the last stage. I don't want to select, grab that, and it'll select, obviously the first edge and the last edge, but all the other edges in between. Now I want to pull that out. But I can't just pull it out. If I do that, it's going to do weird things because that face is still connected to the other faces. Go to press escape so it pops back to where it is. I need to extrude it in that X axis. So I'll press E, and now just bring that out to create the stoop to our property. That's good. That's what we want. Okay, now let's look at our door. So I'm going to grab this edge just here. I'm going to right click and I'm going to dissolve that edge, which means we're going to delete it, but we're not going to delete the structure around it. If I just go ahead and delete that, we have a hole there. That's not what we want. We don't want a hole. I wanted to keep that. So I'm gonna press Control Z to go back one move. You didn't need to do that, by the way. So I'm going to grab that edge again. Gonna right click and I'm going to dissolve that edge so that we keep that face in I'm now going to press three so we can select faces, grab that face. I'm going to press E and just take that back a little bit like this. There we go. Now I need to have a door frame. So to do that, I'm going to press I to inset that face and just move my mouse a little bit till I get something like that. And now I'm going to press E and take that back. There we go. And now I'm going to press I again to inset a second time. Take that in just a tiny bit like that. And now I'm gonna extrude it again, but this time back out. And there we go. Now we've got a bit of a door detail. Okay, now let's work on the window. So let's grab this face like this and let's press E and just take that back like this. And now let's press I and inset this. And now let's press E and just take that. And there we go. There's our window in place. Okay, I think we just need some posts now on the front edge, and I think we're done. So let's now, actually, just press Shift A. Let's introduce a mesh, and let's introduce a cube. There's our cube. It's way too big, but let's bring it forward on the X axis. And now let's hit S and scale this down. Bring it up on the Z axis. And now let's press three on the numpad to get the orthographic view. I'm sorry, let's press one. And let's bring that out like this. I'm going to hold down shift, press the mouse button, the scroll button and sort of move ourselves over, and maybe bring it forward. I think I'm happy with the scale, so there we go. Okay, the next thing I want to do is actually just take that top face up. So I'm going to hit the tab key so edit. I'm going to select that top face and just go ahead and pull that up until it's in our roof. There we go. That's that. And that looks good. Okay, the only thing we want to do different maybe is just bevel these edges. But I want to just check that the scales correct. I'm going to tap out of edit mode, and the scales out in this case. So I'm going to press Control A and apply rotation and scale, and now the scales are correct. Gonna grab this item, hit the tab key. G to press two on the keyboard and now select these edges. So I'll hold shift and select one, two, three, and of course, number four, and I'll zoom in a little. And now with those selectors, I'm going to bevel those edges. So I could come over here and actually click on Bevel. But I'm going to use a shortcut. I'm going to press Control B. And that little lines popped up there to say that we're going to bevel. I'm just going to gently just move the mouse now until we get something like that. Now, it's more hamford than bevels, so that's not really what I want. So to get more of a bevel look, I'm going to move the mouse wheel a couple of times. There we go. And that's just added some extra edges to those bevels just to add a bit more detail. Not going to do too many because we're adding more complexity to the mesh, but that looks good just like that. If you just left click once this little box comes up here, I'll click on this and here's the properties of that bevel. So at this stage now, if I wanted to, I could increase these segments, and you can see there on the model you can see the complexity increasing in that bevel and actually just going to put that back on three. And if I wanted to, I could change the width of the bevel, really make that a round post, or I can take that back Oops. Get there in a minute. There we go. That's fine. And there we go. That's the bevel done. I'll tap out of time by hitting the tab key, and I'll look at that. And I can prove that a little bit further by clicking on it, and then right click and shade Auto smooth. And there we go. Okay, let's press one. I'm sorry. Let's press three on the numpad. Grab this and take this over. Now, to the edge like this. And now let's press Shift D. And now let's move our copy on the Y axis, so I'll hit Y, which now we can see that extra line pop up to Y, and I'll bring that over, and I'll just guesstimate it. I'll use the grid pattern that we can see to estimate what I'm doing. There we go. So I've got middle of this cube here, and I'll press Shift D and Y and bring another copy over to let's say the middle of this one. And I'll press Shift and Y and bring another one over to the middle of this one. And shifty and Y and bring another one over. And actually, I think I'm going to just distribute these by ice. I'll pull this over like this. Grab this one and pull this over. And this one until we get something looking And there we go. I'm happy with those. So we could now, if we wanted to maybe just put a horizontal rail in there. That's one last little thing to do. So let's grab this one here, let's press Shift D, and we'll press Y, and we'll pull that one out into the middle. Now, let's look where the gizmo is. And the gizmo is right on the bottom edge of this. So if I rotate it, it will work for me, but it won't be the best. So what I can actually do is right click and I can set the origin to the geometry. And now the gizmo is recentered to the middle of that object. And we can see where the X axis is, and that's how I want to rotate. So now let's rotate it. So I'll hit R, and I'll press X because I want it to rotate in the X axis. I'm just going to type nine and zero and hit Enter. And it's a little long, so let's just scale it down and just the Y axis, the green. So I'll press S and Y and just bring that down. And there we go. Let's press three so we can see that nicely. Let's grab this and press Shift D and Y and bring a copy over like this and press Shift D and Y and bring a copy over here like this. Let's increase the scale on this one, so we'll press S and Y and just increase the scale. There we go. There's our log cabin, and that's looking absolutely fine. Okay, so now we know how to model. Basically, we're nearly ready to start doing our main project properly. In our next lecture, we're just going to do some few more little tweaks to blender, just setting it up exactly how we want it, and then we're going to start modeling. Okay, thanks very much. I'll see you in the next lecture. Bye bye for now. 7. Lecture 6 Final Tweeks To Blender: Hello, and welcome now to Lecture six. And in this lecture, I just want to do a final few little tweaks to blender before we start our main project. So let's go ahead and do this. So the first one I want to do is over here in the outliner. And you can see we have the items that we have in our viewport, so we have the camera, the cube, and the point, the point being a point light. And over here on the right, we have these little eyeballs. And these eyeballs are a way of hiding things in our scene. So let's go ahead and click on the eyeball on the cube here. And now the cube has been hidden in our viewport. We have this little camera icon, as well. And what that camera icon does is if I go ahead and click that one now on our cube, the cube is still in our scene. But when we go ahead and render out our scene, if that cube was still in the scene, it wouldn't be seen in our final render. So if you have things in your scene that are just for maybe scaling or proportioning your scene, but you don't want them to be seen in the final render, you would go ahead and turn off that camera. But there's one more icon I want to bring into our outliner, and it's right here. If I hit little filters tab here and click on this arrow, and there we go. Now we have these arrows here in our outliner, too. And these are lockers for items in our scene. So for the cube, if I go in and hit that little arrow for that, now that I've done that, I cannot select the cube. No matter how hard I try, I cannot select it. And that's really handy because let's see we've modeled all our walls in our kitchen. And once we finish them and they're looking great, we don't want to be able to accidentally move them or change them again after that. So by locking the walls or anything else that we've done, we're safe. We know that we can't accidentally move them later on down the road. And it's also good maybe for our reference images so that once we scale them and position them, we can't accidentally move them because that could cause some issues while using them as references. So that's our locker. Okay, so the next thing I want to bring in is some add ons for blender. So blender, as we know, is already really good, but it can be made better. And it can be made better by bringing add ons into blender. So it's almost like tuning a car. You know, it comes out the factory. It's good, but then you add all these other things, and it gets even better. It's the same thing. And there are literally thousands of add ons for blender. And there's a handful that are free that are really good. And there's two that I want to bring in now to help us. So the first one, if we go over here to edit and references and go to add ons and then find node Wrangler. It's right there. And once you find it, go ahead and hit that little tick box, and there we go. Now, the node wngler add on has been added to our blender. And what is the node wrangler add on. We'll be using it quite a lot. It's one of those add ons which is just in the background. You never really know you've got it much, but it speeds things up a lot. I'm not explaining that very well. So when you're making node texture maps, it's a way of speeding up the process of making those node texture maps. It takes away a lot of the sort of the unnecessary grunt work from it and just speeds up the whole process. So you'll be seeing that in action about halfway through the course. Really cool little add on. Almost everybody uses it. The other one I have here is the Blender kit add on. Now, I don't think that Blender kit is actually included in the standard add ons on Blender. I have it here because I downloaded it a long time ago. So I've turned it off to help you guys install this add on. So we'll go through the process together. To be honest. I don't really want to delete it. So I've just turned it off for the moment. So you're not probably seeing this Blender kit add on in this panel right here. So let's go ahead and get it. So I'll go ahead and drag in my browser for a moment. And there we go. And this is the Blender kit website page. And here's the address here at the top here, excuse me, www.blenderkit.com. And what is Blender kit? Blender kit is a really huge asset library that is dedicated to blender. It's been tailor made to suit blender, and the assets in it are made for Blender. And it imports effortlessly and seamlessly into blender without any sets or tweaks or scaling, you just simply dragon drop into the scene as you can see them doing just here. It's super awesome. So let's go over to the subscribe tab here and click on this. And so we've got three payment methods. Don't worry. We're going to do the free one right here. And just to show you how much there is just even in the free version of Blender kit, 16,581 assets to import in. 22,500 materials and 2,413 HDRIs plus seams and brushes and lots of other stuff. It's absolutely brilliant. This is the one here that we'll be using. The other ones, they have paid at $9 a month with 51,000 models, tons of stuff, but the free one is one we'll be using. You can go ahead and register with this as well, if you wish. And once you've registered, then you can go ahead and leave ratings for the models that you import into your scene. I strongly suggest you do it because these good folks are working hard to produce these assets for us to use. So I think the least we can do is go ahead and rate them for them. So yeah, let's go ahead and download this. Go over to the top here to download Blender ckit and click on this and then just go ahead and download Blender kit. And there we go. Here's come into our scene. So now we can go ahead and maybe just close our browser for a moment. And we can go back up to this tab here. And we can come over to this little tab here. Click on this and click on Install from disc and then go over to Downloads. And here's my Blender kit file. So, here it is in the Downloads. So I'd select this and go ahead and press Install From disc. I'm not going to do that because I've already got Blender kit installed in Blender, so I don't need to. But you can go ahead now and press Install from disc. Okay, and I'll turn that off. Once you've done that, then blend online asset Library will appear on this list and go ahead and put a tick in the box. I see straightaway we have this extra tab at the top of our user interface. All right, so now that we've done that, now we have a nice easy way of importing items into our scene. So why don't we just give that a quick go? So just click on this box here and what shall we input? Let's import a chair. So I'll press just type in hair and press Enter. Sometimes for some reason, you need to do it twice, so I'll just click Enter again, and they come in nicely. And you can see we've literally got tons of chairs to choose from. But a lot of them are locked, meaning that they're for the paid for subscribed members. So go ahead to the filters here and just click on free first. And then now it'll show us all the free ones before it shows us the paid ones. You can see some of these assets are absolutely brilliant. Um, what can we? Let's have a look, see if there's any we want at import? That's pretty cool. Let's right click on this one, and let's have a look at it. It's only 5 megabytes, and it's rated at eight out of ten. So we can input that one or how about this one? Let's have a look at this one. I'll write click again, and it's 68 megabyte file, and it's got nine out of ten. So I think I'll have a go with this one. So I'll simply hover over it, hold down the left mouse button, and drag it into the scene. And there we go. It's coming, and there we go. That's cool. Let's go ahead and maybe delete our cube. I don't think we need that. And maybe the next thing we could do is just reposition the chair to the center of our scene to the world origins. So we could go ahead maybe and just select the cushion and then we could select the main sort of plastic bit. And then we could suggest the metal and this one, this one, And is that everything, isn't it? Have we miss something, and maybe we did, maybe we didn't an easier way. We can just use this here, this little cross hair. So, 99% of the time, when you import something from blender kit, you'll get a little cross hair with it as well. And this cross hair is called an empty. And it's cold and empty because it is empty. It doesn't really contain any information. There's no vertices. There's no textures. There's no UV maps. There's nothing. There's just three lines. That's it. So what's the point of it if it's an empty? It's parented to our chair. And what parented means is when we move this empty, the chair will follow. So if you like every component of this chair, you can class as a child. And then this empty, you can class as the parent, so that then when you move the parent, the children will always follow. We call that parenting. The chair has been parented to this empty. And also the same thing if you scale the parent. I have S, I can scale the chair down completely. So let's go ahead now and move this to the center of our scene. So I'll click on the Empty. I'll come over here to the location. I'll hold down the left mouse key and drag to all three of those like that. I'll press zero and click Enter. And there we go. Now we've brought the chair to the world origin. Why don't we create a little scene for this quickly? Why not? Let's render this out so we can see what it looks like. So maybe next thing we can do is we could press Shift A. We could go for mesh, and we could go for a plane. And we have a nice little plane underneath it now so that we can get some nice lighting, and maybe this plane should come up at the back. So we'll go into edit mode with the plane selected. Make sure your edge selection on, select that edge there, press E and then Z and bring the back up like this. There we go. That's cool. And then if we want to go a step further, we could maybe just select that edge again now. We can press Control B to bevel, and we could just apply a slight slope to the back, scroll the mouse wheel a couple of times to add some more sections to that bevel, and there we go. We'll leave that light there. Now, let's tap out of Ed mode with that. Maybe just apply a shade or smooth to it, and let's find our light. So it's right here, and we could bring that light down and bring that into our scene. Let's press seven to see this from the top so we can see where this light is, maybe bring this in like this. There we go. That's good. Maybe bring it up a little bit. And with that done, let's try now going into our rendered mode in our viewport. So let's click on this little button here. And there we go. So now we've got a fully rendered chair all lit up. We have a nice little scene. You can see the detail in this chair. It's actually really, really impressive. So let's try just moving this light in a little bit, maybe back a little bit. Maybe now we could try selecting the light itself. If you go over here to the properties tab, click on this. Maybe we could try increasing the radius of the light to get a slightly more ambient, larger light source, and we could try warming the light up by just adding a little bit of tiny bit of yellow to that light. There we go. That's cool. Maybe we just try increasing the power a little bit. And there we go. So let's actually just try now duplicating that light, so let's select the light, and we can press Shift D and X and bring a copy over to the opposite side now like this. Maybe take this one back. To illuminate the back of the chair a bit and maybe take this one forward to put some light on the front. And there we go. We've got some nice shading in our chair, and we've got a really nice, evenly distributed light all around it. That's really cool. So we've imported our first thing from blender kit and set up a basic render. You see, blend it. It's really not that difficult to do cool things with it, is it? It's not too bad at all. Anyway, I've actually just gone off track. I've gone off kilter a bit 'cause I didn't really mean to do any of this. I just wanted to help you set up blender kit. I didn't really mean to set up a basic scene, but we've learned lots while we've done it. We've sort of brought in assets, and we've had to look at the quality and we've learned how to move them, and we've set up lighting and put a backdrop in. So we've learned lots of stuff. I just didn't mean for us to it in this lecture. I do that. I go off track sometimes, excuse me, when I do. Okay, so we've done that, and that's cool. So we don't really need this anymore. We're kind of done with this. If you wanted to go ahead and save, you can. You can go over here now to File, and you can click on Save As, and you can go ahead and maybe select the file you want to save it in and go ahead and save. I won't what I'm going to do is go ahead to file and click on New and click on General and Don't Save. And there we go. We're back now with an empty scene with just a camera in the scene and nothing else. So the next thing we need to do is go ahead and save our new parameters. So I'll go over to File, defaults, and save startup file and go ahead and overwrite. There we go. So now, every time we open a blender, we'll have the node wrangul, we'll have Blender kit. We'll have this extra lock tab in our outliner and all the other things that we set up at the start. Alright. That's everything for this lecture. In the next lecture, let's start importing our reference scenes, our reference photos, and making a start on our kitchen. Alright, thanks very much. And I'll see you in the next one. Bye bye, Fine. 8. Lecture 7 Reference Images: Hello, and welcome now to Lecture seven. And in this lecture, let's go ahead and start our project. I think it's time. We've kind of learned all the basics that we need to get started in Blender, and we've prep Blender so that it's got all the facilities that we need. So let's make a start. So the first thing that we need to do is bring in our reference images and set those up. We need to scale them and make them opaque and make them so that they can only be seen from one side. And, of course, we need to make sure that they're dimensionally correct. So we'll go ahead and do that now in this lecture. Okay, so let's just tap anywhere to get rid of the splash screen. And let's, I don't think we need the camera in our outliner. Let's start with a clean slate. So I'll go ahead and select the collection like this, and I'll press Delete on my keyboard. And the camera's left. I'll go ahead and just press Delete one more time. And there we go. We've got nothing left in Blender in this file. Now that I've done that, in our scene collection here, I'm going to go ahead and hit the plus sign to create a subfolder, and I'm going to double click on this, and I'm going to call this references. There we go. References. And then I'll make sure that this is selected so that when we bring in our reference images, they'll automatically be dropped into this file. Alright, now that we've done that, let's go ahead and bring in our first reference image. So to do that, I'll press Chef Day, and I'll go down to Image and I'll go to a reference. This thing is going to come up here so we can select a file, and wherever you have saved this file, go ahead and go to it. So for me, this is UnimCure three, Kitchen, take two, and reference images. And which one shall we bring in first? I think this is the most important one of all our plans, the plan section elevation. Let's go ahead and bring that one in first, that's brought it in, and it's absolutely fine. But brought it on the wonk, but we know how to fix that. So we'll just go over to rotation here and we'll hold down the left mouse button and drag toward three like this, and we'll go ahead and delete those, and we'll just press zero and enter. And there we go. Now that is absolutely sitting on the X and Y plane absolutely flat. So the next thing that Oh, now we can go ahead and name this currently it's just called an empty. And we know what this is called. This is called the plan section view. So let's go ahead, double or click on it, and let's name this. So plan section elevation. There we go. And that's good for me. Okay, so now that we've done that, we need to make sure that this is the correct size. So how do we do that? What we're going to go ahead and do? I'll click on the reference here again to make sure that it comes in in the right place. And we'll go ahead and press Shift A, and we're gonna bring in a cube. Let's do that. Now, we need to be able to see through this cube a bit. So let's press Z, and let's go to wireframe mode. Next thing we need to do is go ahead and make this cube the right size. So let's look at the dimensions on our section plan, and we can see that the wall is 10 meters and 5 millimeters. Let's ignore the 5 millimeters, and let's just call it 10 meters. And the wall in this direction is 8 meters. So it's 10 meters wide and 8 meters deep. That's the overall size of our kitchen to the exterior sides of our walls. Okay, so let's look at the dimensions here, and we want to start in the X. The X is 10 meters. Like I said, we'll ignore that 5 millimeters. So let's click on the X here, and let's press delete. And let's go ahead and just put in there ten and enter. And there we go. So now our cube in the X axis is 10 meters long. So now in the Y axis, we need to make it 8 meters. So here in the dimensions on the tab, let's double click on the Y and delete that. Let's make that eight and just go ahead and press Enter. And there we go. So now the height is still incorrect, but that's okay for a minute. We won't worry about that. But we do have in the X, we have it at 10 meters, and in the Y, we have it at 8 meters, and that's exactly what we want. So we need to make sure that this cube now is in the same position as our reference image. So let's press one on our numpad to go into the orthographic view. And I'm just going to hold down the shift and press the middle mouse button just to reposition ourselves. And now I'm going to grab the Gizmo with the item selected, with the cube selected, and then just go ahead and bring that up manually until that's sitting on our X axis. Let's zoom in and just check on that, and that's looking fine. All right, let's go to seven again. So I'll press seven on our numpad and see this from the plan view orthographically. And now let's go ahead and select our reference image. And let's just press S and go ahead and scale this There we go. I'll just move this over using the Gizmo on the x axis to about the middle. I'll go ahead and press S again. Whoops too much, and just take a second now to scale this upright. So for me, I'll go ahead and move this down on the Y axis. And let's see how that's looking. Maybe I'll scale it down just a little bit and just bring that And just center that. And that's looking good. I think that's sitting absolutely fine, now. I got a tiny discrepancy on this side about it's millimeters. Let's see what it's doing on this side. I think I'm happy with that. Okay, so that is our ground floor section elevation lined up with our cube. So now that we know our plan is scale correctly. So that's good. So now that we know that our cube and our plan are exactly the same size. Okay, now we've done that, I want to be able and just do a little bit more with this plan, so I'll select it. And I'll come down over here to data properties, and I'll select that. And I'll come on over here to opacity, and I'll click on that one. And I'll go ahead and bring the opacity down to about half. And that's going to make our plan a little bit transparent, not completely transparent, but a little bit. And there's one more thing we can do, which is really quite helpful. At the moment, this plan is visible from both sides. What I want is for it to be seen from the face but not seen from the rear. So we can do that. If we come over here to the side on the empty and we go ahead and click front. Now, let's just check. Let's go around the back here and have a look, and there we go now. So that plan is visible from the front, but not from the rear. That's quite handy, really. That's quite a good thing. So now that we've done that, we can go ahead and lock this one. So let's come over here to the outliner to our plan section elevation, and let's just click on this little arrow. And now we can't accidentally grab this plan. Alright, so now that we've done that, let's bring in another reference image. So let's go ahead and press Shift A. And let's go to image, and let's go to reference. And let's bring in what should we bring in? Let's bring in the front section elevation. Let's click on that and add empty Image there we go. So again, let's go ahead and flatten that out. So let's go over to our rotation. Hold down the left mouse button on the top one and drag down to all three. Whoops. Try it again. There we go. And let's press the backspace to delete them all. Let's press zero, and let's tap Enter. And there we go. It's set that plan for us. Now that we've done that, let's rotate this image. So let's press X to rotate it in the X axis. And now let's press 90 to rotate it 90 degrees and then hit Enter, and there we go. That we've done that, let's press one on a num pad to see that from the front. And now let's go ahead and just pull that up until it's sitting on the X axis. We may need to adjust that again, but let's start like that. And now that we've done that, let's press S and go ahead and scale that up. And then, again, now just take a minute, pull the plan up so it's sitting at the floor level level with the X axis. And now let's go ahead and pull that over. And at the moment, that's a little bit, so we'll hit S and scale it down. And let's pull that around. It's still a little bit big, so I'll hit S and just scale that down. That's looking a bit better. I'll just reposition that just a tiny bit. I think that's fine. With this plan now, we can see the height of our house. I'm happy enough to go to the height of the internal corner of the walls here where the wall meets the ceiling that's where I'm going to scale the height from. So that means this cube, there's a reference cube of ours. That needs to be 2.926 meters tall. So at the moment, it's 2 meters. So let's click on this one, and I'll just go ahead and delete that 2 meters for a moment, and I'll make it 2.926, nine, two, six, and just press Enter. And there we go. That cube is to the right size now. Let's select that cube again now and take that backup to the X axis. There we go. Is it a little bit high? It's a little bit high. I'll bring it back down again. There we go. That's perfect. Let's select the plan now and go ahead and take that down back to the floor. And we can see that's worked out. So I'm happy with our section plan because the cube is the right size and the plan is lining up with it. So that means that the plan is now to the right scale as well. Okay, so let's go ahead and set that one. So I'll just grab it and I'll take it back in the Yaxs until it's level with the corner, let's say of the other plan. And now let's look at the object data properties. And let's go over to opacity, and let's turn that down to about half. And then let's put on this side thing here, let's put it on front. Let's just come around the other side of the plan to make sure it is transparent and it is. So you can see the benefit of that from being able to still see our main components through the plans. That's really good thing. Okay, so let's select this one, and let's name it. So I'll double click on this empty, and we'll call this front section. There we go. And now that I've done that, I can actually go ahead and lock it. We don't need to move that again. And also, now we don't need to adjust our cube again, so let's definitely lock that. So let's rename this cube. So we'll call this the ref cube. And there we go, let's go ahead and lock that too. There we go. Okay, so let's go ahead now, and let's bring in another plan. So let's press Chef A, and let's bring in another reference plan. So we've got the front section, and we've got the plan section. So let's go ahead and let's bring in the front elevation. And one. Okay, straightaway, let's go to rotation, hold down the left mouse button and select all three, press zero and press Enter. And let's have a look at that. So now let's go ahead and rotate that 90 degrees on the X axis. So let's press R, X, nine, zero and press Enter. And there we go. Let's press one to see this from the front. That's one on the numpad. And let's press S and scale this up. And we need to make this plan opaque so we can see the cue behind. Let's come over to object data properties, click on this and bring this plan down now. Let's go ahead and hide the front section elevation. Let's select this again now and press scale and take this over a little bit. Again, just take a minute to level this up. And I'll take this over a little bit. Let's check this with the other one. Okay, let's have a look. This is looking pretty good now, I think. I think that's absolutely fine. So with this one, let's go ahead and take this over now to the front here like this. And I think in this case, I don't really want to see this from O, do I? Yeah, I think that's fine. We'll leave that just there like that. The opacity we've sent. So let's go ahead now and make sure that it's seen from the front, and there we go. That's fine. So now that we've done that, let's actually name this one. And let's call this the front elevation. There we go. And that's done. Let's go ahead and lock that one and let's turn that one. Let's just hide that one for a moment. Okay, so let's bring in what should be the last one. Let's press Shift A. Let's bring in a reference image. We've done front elevation. We've done front section. We've done plan section, so we've just got rear elevation and left side. Let's click on left side and bring that in. There we go. Let's go ahead and hold down the left mouse button and drag through all three. Oops, I'll try that in. There we go. I'll press zero and enter. Okay, let's have a look at this one now. And let's rotate this. Let's press RX, 90, Enter. And now let's rotate it on the Z axis. So let's press rz90, Enter. And let's press three to be able to see this in the side elevation. Let's take it up. And let's adjust the opacity so we can see through. We can see our cube. It's right there. So let's take this and let's scale this up. And again, just kind of move it around. Just take a little while to scale this up accurately. Maybe a little bit more. There we go. That's cool. Line that up and take that up. So it's sitting on the X axis, which is right there. Now, I have got a confession here, I'm afraid. This dimension here on the window is incorrect. We've got what's known as a slipped dim, so this dimension has taken its reference from way too low, so please ignore this one here. But it doesn't really matter because if we've scaled the plan up correctly now, which we know we have, we can literally use this plan to find out the size of this window, so we're fine with that. Okay, so now that we've done that, let's go ahead and take this one over. So we'll go ahead and just drag it over in the axis to the side like this. And once we've done that, let's go ahead and have a look at which side we need to make opaque on this one. So I want to be able to see it from this side, but not from this side. So let's just try seeing which one we want. So that's incorrect. So let's go to the front, and that's the way I want it. So I don't want to see it from this side, but I want to be able to see it from this side. Saying, Oh, we've done that, let's go ahead and name this one. So I'll delete that. And I'll call this left side elevation. There we go. And that's done. And let's go ahead and name Oh, let's go and lock this one. I'm sorry. Okay, so we've got, I think, one more to bring in. So let's press Shift A. And let's bring in an empty, an image. I'm sorry. And let's bring in reference. And we're looking for rear elevation. Let's bring that in. Straight away, let's come over to the rotation and select door three and just press zero and Enter. All right, let's rotate that one. So let's press RX 90, and click Enter. And let's press one to see that from the orthographic view. And let's go ahead and scale this one up as well. Until that works out. So again, just take a sec to do this. Scale up a little bit more. Go ahead and take that up. Maybe bring it down tiny bit. And that's good. I'm happy with that. So now that we've done that, let's go ahead and take that whoops. I'll just cancel that move and go ahead and take that back in the y axis like that. So with this one, as well, I want to be able to see it from this side, but not this side. So let's go ahead and turn this off on the front and see if that's right. Nope, that's wrong, so let's switch that. And there we go. Now I can see it from this side. Let's go ahead and make this opaque. Take that to about half. And let's press one to see if that's I'm sorry. Let's press Control one to see it from this side. Make sure it's on the floor and it is. So that one's absolutely fine, as well. Let's name it. And we'll call this rear elevation. And there we go. And let's go ahead and lock that one, as well. So we can go ahead and hide this rear elevation, I think. And I think we can hide this left side one. The plan section one, I think we'll leave that one. That's a really handy plan. And let's leave on the front section. These are the two for the moment, which I think are plans will be using the most. Okay, so there's one more thing I want to do, and let's go ahead and create us our first major save. So let's go over to file. And let's go save us. Now, find the file that you want to save your project in. Maybe you need to create one. So I'll go to mine it's Kitchen Take two for me and Blender. So this is where I'm going to save mine. So you DMCs Kitchen, take two, Blender. But wherever you've created your file to save into. And then I'm going to go ahead and name it, and I'll just call it Kitchen one. There we go. And I'll go ahead and save ***. And there we go, we've saved our project, and that's okay. Okay, so I think that's a really good start to our course. We've got all our plans in place, and they've all been scaled and they've all been set up the way we want. Alright, so the next in the next lecture, let's go ahead and start making our walls. Alright. I'll see you in that one. Bye bye for now. 9. Lecture 8 The Walls Part 1: H Hello, and welcome now to Lecture eight. And in this lecture, let's go ahead and build our walls. I want to show you sort of my personal style of workflow for building walls to simplify the process and make it as quick as we can. So I want to kind of go ahead and show you that. So what do we need and why don't we need? I don't think we need our reference cube at the moment, so let's go ahead and hide that. And I don't think for a while, anyway, we need the rear section or the front section elevation. So let's hide that. So now we just have these two. And for a while, this is the floor grid. And I don't think I want to see that it's a little distracting. So let's come over here now to overlays. Let's click on this and go ahead and turn off the floor. So we have very simplified plan. In fact, let's go ahead and leave on the front section elevation. Let's leave that on. So we have these two in like. Alright, so I think the next thing I want to do is create a new subfolder for our walls. So let's do that. So let's come up here to the top here where this little plus icon is. Click on this. Let's double click on it. And what shall we call this? Let's call this walls and windows. And doors. There we go. That's cool. Let's make sure this is still selected so that when we create new objects, I'll drop straight into this folder. And let's press seven on a numpad to see this in the orthographic view. Let's press Shift eight and gown to mesh, and let's bring in a plane. Okay. So we don't really want to scale this plane up. Let's go ahead and do this properly because we know our walls are 10 meters by 8 meters. So let's enter those numbers in. So in the X, we know it's 10 meters, so let's do that. Ten and enter. And in the Y, we know it's 8 meters. So let's go ahead and put 8 meters now in the Y axis. And there we go. There's our walls or a plane, which will be our walls, positioned perfectly, and dimensionally, it's 100% correct. Let's go ahead and name that, so let's double click on it. And let's call this the walls. And there we go. The walls will just be one component, so we won't have any extra ones for that. Okay, so now that we've done that, the next thing we can go ahead and do is tap into Edit mode on this. And let's make sure that edges are selected. There's two ways of doing it. We can come up here and we can select either vertices, edges or faces, or we can simply press two on our keyboard to select edges. Let's press seven on numpad to get the orthographic view back again. Let's select this edge here, and let's press Control to get a control loop in there. Let's without doing anything else, just roll the mouse wheel once so that we have two loops in. Now press the left mouse button twice so that we have those loops in place. Let's scale those both at the same time. So let's press S and X and push the mouse upwards, and that will scale those outwards for us and go ahead and line those up now with the interior faces of our walls. Take a second to do it, and there we go. That's perfect. Let's do the same now with this one. Let's select this edge here. Let's press Controller, roll the mouse wheel once to get two control loops in, click on the left button twice, and now press S and Y and kind of pull the mouse left and scale those up until they're lining up with the internal face of our walls, which is there like that. That's cool. So now we need to put in more control loops to mark out our windows and doors. So let's do that. So let's select this edge again, and let's press Control R. Let's roll the mouse wheel twice to get two lines in there. And this time, let's go ahead and hold holt and select this line on its own and move this up until it's on the edge of our window, like that. Let's hold down Alt, select this loop, and now bring this one up as well until it's level with the other side of our window. Let's select this edge here now, and let's press Control to get another loop in. And let's roll the mouse wheel twice to get to. And now let's go ahead and hold Alt and select maybe just this one and bring this one down until it's level with the edge of our door. I'm going to press down the shift button and press the middle mouse button down and just move the whole plan up a little bit. If I hold, I can select all those edges and now I can bring that down to mark the other side of that little door. There we go. That's cool. Let's do this one now for this big bifolding door here. Let's press Control R. We'll put two control loops in by rolling the mouse wheel once and deselect them. Let's hold on and select this one and move this one over to the edge of this side. Whoops. There we go. That's done. And let's do this one. This one's pretty close already, but we'll get a bit better. So I'll select this one, and now go ahead and push this one to the edge of here. I like that. There we go. That's really cool. Okay, so the next thing we need to do is go ahead and extrude this up. So what we can do is press three on our keyboard so we can select faces. And you can see those dots up here, which just tell us in wireframe mode that we're now in face selection. I'm going to select this face here on the corner, and I'm going to hold down Control, move to this side, and select this one here. And what it does is because I held control, it selects all faces in between the two that I selected. So I'll hold control again now and select this corner. I'll hold control and select this corner and one more time to there like that. That's all the faces that we need. So what I'll do now is I'll press one on an MPad to get us the orthographic view of the front. And now I'll press E for Extrude and Z and bring us up in the Z axis like this. And we know the height, what this should be is 2926. And here on the transform tabs on the side, in the Z axis, it's slightly out. It's 28, 66. So let's double click on this, and we'll just select just behind that three, and we'll start hitting the back spaced delete. Until we've got the two and then the decimal point left and then we'll go nine, two, six, and then press enter, there we go. Our walls now are exactly the right size. Let's go ahead and deselect those for a minute. Let's pan round and see how we're doing. And we're doing good, we're doing good. So the next thing we need to do is go ahead and mark the horizontal lines of everything. So I think for now, we're done with this section front, so let's go ahead and hide that. And let's bring in the front elevation. There we go. That's cool. Okay, let's select this interior corner here now, and let's press Control R, and let's put a loop in on this. And let's go ahead and do the outside now. So we'll select this edge here, and we'll press Control R, and we'll go ahead and deselect to get that loop in there. Let's select both these loops. I'll select this one. Hold Alt, and then select this one like this. Come to the outside, hold Shift and Alt and select this one like this. Okay, now that we've done that, let's press one on numpad to see this from the front. And let's go ahead and take these two control loops now up until the level with the top of our bifolding door and there we go. That's cool. That's good. So we're pretty much done with that now, but I think we'll leave this plan in now, but I want to plan the side elevation. So let's find this left side elevation and turn that on. If we press three on our numpad, we'll see that one. And we can see now that that loop we've already put in is level with the bifolding door on the front elevation and also close enough to being level for our windows as well, so that's good. So let's create another set of control loops. So let's go ahead and zoom in a little bit in this corner. Okay, so let's select this internal edge here, and let's press Control. And bring that loop in on that face there like that. Let's do this same on the outside now. Let's select this corner here, and let's press Control R, and deselect that one as well. Okay, so now let's go ahead and press Alt and select that entire loop. And let's hold Shift and Alt and then click on this internal loop, as well. So we've got both loops selected. Now let's press three on numpad to see this from the side. And let's take those loops up till they're level with our little side door, which is there like that. That's cool. Okay, so we're going to repeat that process one more time. So we're going to select this internal corner again, and we're going to press Control R, and we're just going to deselect that one for a moment. Let's go to the outside, select this corner, and we'll press Control R, and we'll just deselect that one for a moment. Okay, now let's press Alt and select this one, now hold Shift and Alt and select this loop here like this. Let's press three on umpad to see this from the side. And I'll just pan this over, so I'll hold down the Shift button, press the middle mouse button, and push our screen over. And this is actually pretty close already, but we'll just take this up a little bit like this. And there we go. That just marks the bottom side of our little windows. And that's good. So let's go out of wireframe mode back into solid mode, so I'll press, and I'll go back to solid mode. And that's cool. So we've got our walls in place, and that's what we want. So for now, let's go ahead and hide left side, and let's hide our front elevation. And that's our walls in position. So let's help out of dd mode with it. And I just want to show you the view that I normally model in. So let's come up up here now to this little drop down here, the shading one. And let's select this mat cap. And now let's select this little sphere, and we can choose a color to work in this mat cap. So I choose this one normally. But you can try other things. Maybe you could try the brown. That's okay. But for me, I work in the reddish one, this one here, and I find that the nicest way to model. But that's up to you. You don't have to do this. You can stay as you work. But this is my personal preference, the color that I model. Okay, so that's cool. That's our walls almost completed. So in the next lecture, what we'll do is we'll go ahead and cut out for the windows and then close those up nicely. But let's do a save before we finish this lecture. So I kind of showed you how to save normally, which is to hit File here and we could go save as if we want to create a new save or just save if we want to save over the top. But there's a shortcut. Just press hold down Control and press S. And there we go. Now Blender has just saved or just updated our save on our project. Okay, so that's it for this lecture. That was really easy, wasn't it? So in the next one, like I said, we'll go ahead and cut out our windows and doors. Alright, thanks very much. And I'll see you in the next one. Bye bye for now. 10. Lecture 9 Walls Part 2: Hello, and welcome to Lecture nine. And in this lecture, let's go ahead and finish our walls off. So I think the first thing we need to do is get a sort of angle on our roof. Let's do that first. So I think what we need to do is bring in a reference for our roof. So let's bring in front section elevation drawing. And with the walls selected, let's go ahead and tap into Edit mode with that. Let's go ahead and press three on our keyboard so we can select faces. Select one face just there. Go over to select and come down to select similar and go for Cplaner. Once we've done that, let's press one so we can see this from the front. And I'm just going to hole shift and drag picture down a little bit like this, holding the middle mouse wheel at the same time. And now let's go ahead and take that up in the Z axis. But I want also to extrude, so I'll press E and go ahead and take that up beyond the height of the roof like that. There we go. That's cool. I'll tap out of Edit mode with that. And now let's go ahead and bring in a plane for our roof. So make sure that Ws, excuse me, walls and windows and doors is selected here. And let's press Shift A. And let's bring in a plane. There we go, and the plane's right there. Let's double click on it, and let's call it the roof click Enter, and there we go. And let's press one again so we can see it from the front. And let's go ahead and maybe take this up like this. Let's go into wireframe mode for a moment so we can see what we're doing. And now go ahead and just take that up in the z axis until that's level with that center point on that roof, just about there like that. That's cool. Okay, let's go ahead and scale that up now, so I'll press S and just scale that up like this. Okay, so now we're still on it. Let's maybe tap into Edit mode and press two on the keyboard so we can select edges, grab that edge there and press Control R and put a loop through the middle. That. Let's select this edge now. Hold shift, and select this edge. Let's press one on an pad to get the orthographic view from the front again. And now let's go ahead and bring those two ones we've selected, which is over here and over here. Press let's just hover over the Gizmo on the z axis and bring those down now until they're in the correct position. So this is a perfect situation where that GZ command or that grab command comes in. So I'll press G and then Z and carry on bringing those down until we get that in position, and that's it there, like that. That's cool. All right. Let's go back to solid mode for a moment now. And the next thing I want to do is we can tap out of Edit mode with that. And let's have a look at the scale on this, and the scale is out. That scale wants to read one, one, and one. So if you like, it's not calibrated anymore because we've scaled it. And this is a new thing we'll do. We'll do this quite a lot, actually, but let's do it for the first time. So with the roof selected, let's press Control A, and let's go ahead and press rotation and scale. Now, in this case, you can see that just the scale is out, the rotation is fine. But just as I always just go rotation and scale, for that one time when the rotation is out, as well as the scale, you might as well just press rotation and scale and one go. So I'll click on that, and there we go, we've recalibrated that component. So the scale is correct on that. Let's have a look at our walls while we're here doing this, and the scale is out on that, too. So let's press Control A, and let's apply rotation and scale. And incidentally, sometimes when you use modifiers or use the bevel modifier, if you're having problems with it, the first thing to always check is, is my scale correct? Do I need to reapply the scale? Always the first thing, dicho. Okay, so now that we've done that, we can actually apply a Boolean modifier to our walls. And what that will do is actually cut our model at the point where our roof intersects. So let's select the walls. Let's come over here to properties, to the modifiers. Let's add modifier, go over to generate and come down to Boolean. We're going to use Boolean difference, which it's already on. So I'll grab this little dropper, so I'll left click on this, bring this over and select our roof, and there we go. But there's a problem. You can see the problem. It's actually cut the wrong half. So what we need to do is flip the normals and our roof. So come on over here to the top to overlay here and hit this little drop down. Come down to face orientation and turn that on. And what that's showing us is, the red side is showing us the negative side to the normals. So what's normal? What's going on? So almost Well, all surfaces have a positive side, a negative side or normals. So if you picture it almost like a cereal box on the good face, you have that nice glossy face that's telling you buy this cereal, it's great. And on the inside, you've got that matte gray cardboard. So imagine this red represents the mat gray side of the cardboard, and this side represents that nice glossy side, which will look good. So when we apply textures to these surfaces, the textures won't appear on the red side of the normals. They'll only appear on this side. So in this case, I want to flip the normals on this so that it cuts this off and leaves our kitchen behind. So let's select our roof here. Let's tap into Edit mode. If we press A, we'll select all of the roof. Now, there's two ways of doing this. We can either go to mesh here and we can come down to normals and we can press flip or we can simply press Alt N and go ahead and flip the normals. And now by doing that, we've got exactly what we want. So let's tap out of Edit mode with this. Let's select our walls, and let's go ahead and apply this bollon. And there we go. That's cool. So let's go ahead and turn off our face orientation for a moment. And now let's go ahead and hide our roof for a little while. So we just come back to our walls. Let's work on these for now. Okay, so the next thing we need to do is actually cut out our windows and doors. So we need some reference images for doing this. So let's turn off our front section elevation, and let's bring back our front elevation for a while. Let's select our walls and tap into Edit mode. And let's press one on our number pad to get us in the orthographic view. And let's press three on our keyboard to select faces. Let's select this face. I'll hold shift and select this one and then this one. And these are the faces that I want to delete. But I'm just going to rotate around because I also want to delete those faces on the inside too. So I'll select this one, this one, and this one. Just check that's the same, and it is. So I'll right click and I'll go ahead and delete those faces. There we go. That's cool. So for a moment now, we don't need this front elevation, so let's turn that off. And let's bring in the left side elevation. Let's press three on a numpad so we can see that. And now let's select this panel and this panel and this panel and this panel. And let's turn around to the other side, and we can kind of figure out which one those are. So it's this one and this one and this one and this one. Is it this one? Let me just check. No, it's not. And then the other window on the opposite side is exactly the same location, just parallel cross. So it's this one and this one, and then this one and this one. With all those selected, right click and go ahead and delete those faces. And there we go. That's cool. So for a moment, let's go and turn off our reference images, so we've just got this. And now we need to sort of fill everything and just close up all these gaps. So let's do that. So now let's go ahead on our keyboard and press one so we can select vertices now. And I'll select this vertice here. I'll hold Shift and select this vertice here. And we need to kind of fill this gap with an edge between these two. So let's just press F to do. There is a long way around that. I'm just going to you don't need to follow me. I'll just press Control Z just for a second to cancel that command. And I could do with those two vertices selected, I can right click and I can use New edge or face from vertices. So it's just F to do that. So the shortcut for this command is so I'll just catch up with you guys. I'll grab that one and that one, and I'll press F, and there we go. So we also need to get an edge across here. So let's do that. So I'll select this one and this one, and I'll press F. And I'll do that here, too, grab this one and this one, and I'll press F there as well. And now I'm going to go ahead and fill that. So I'll press two so I can select edges. I'll grab that edge. I'll hold down Shift, and I'll select that one and that one and then that one, and now I'll press F again to fill. Okay, let's select vertices again, so I'll press one so we can get vertices up. I'll select that one and then that one, and I'll press F. And now I'm going to go ahead and press two, so I can select edges, and I'll grab all these edges. And I'll press F and fill those. Now, sometimes, if I just go ahead and select this edge now, let's see if it'll do it. Blender is a little bit funny with this coman. Sometimes it'll do a nice little trick for us. Let's try. If I press F, it just shoots across and figures out exactly what I want. Sometimes it works, sometimes it doesn't. Let's press F again and see if it'll carry on. And it did and F and F. So Blender kind of anticipates what we want there and does just that it carries on filling that across. Like I say, sometimes it works, sometimes it doesn't. So let's do this here now, so I'll press one so I can select vertices. Hold shift, select this one on this one. I'll press F, and I'll fill that. I'll select this one on this one, I'll press F, and I'll fill that. Now I'll press two, so I can select edges, and I'll hold shift and select these edges, and I'll press F and I'll fill that. I'll see if this will work. Just select this one, and I'll press F, and there we go, blenders filling that nicely. Okay, so let's do the other side now. So let's press one so we can select vertices. Select this one, Holt shift, and select this one, press F and fill that. Let's select this one and this one and press F and fill that. Let's press two, so I can select edges now. Let's select this edge, and let's try. Press F and fill it, and there we go. It's working nicely. Press F and F and F. And that's filled up nicely. Okay, now the last one. So let's press one so we can select vertices. Select this one and this one, and press F and fill that. Grab this one and this one and press F. And this one and this one and press f. Let's press two, select this edge here, and let's press F again. No, you see, this is what I'm talking about. Sometime Blender knows what you want. Other times, it doesn't quite get it. So we'll just carry on. I'll press this one here. Is kind of glad that it did that just to show you that sometimes Blender doesn't quite get it. So I'll select this one and this one, and I'll press F and fill that. And now I'll press two so I can select edges, select this one, hold shift, and select these others. And press F. I'll select this top edge, press F and F and F, and there we go. So there we go, there's our walls now complete. It really is that easy and they look just fine. So why don't we just see if we can apply a bevel to this. So make sure you're in object mode. Make sure your scale is correct. Come over to add modifier and generate and bevel. And there you can see a bevel has been applied to this edge. Let's maybe just turn that one to a two, and see how that looks. And increase the segments. Zoom in a little bit on that. Let's see how that looks. And I think that'll be fine. So we've got three segments, and we've increased it to 0.22. Okay, I won't apply that bevel modifier yet. I'll just leave that there in the stack. And that's our walls completed. And I think they look just fine. So in the next lecture, let's go ahead and finish off our roof and make that look good. Alright, thanks very much. Oh. Hang on. Let's go ahead and do a save. So let's press Controls and save our progress. I nearly forgot that. Alright. Thanks very much. And I'll see you in the next lecture. Bye bye, fo. 11. Lecture 10 The Roof: Hello, and welcome now to Lecture ten. And in this lecture, let's go ahead and put a roof on our house. Let's see if we can do that next. Alright, so what do we need to do? I think the first thing we need to do is bring our roof back, so let's do that. And let's go ahead and bring our reference images back, as well. And if you remember, we flipped the normals on our roof so that we could use it as a boolean cutter. So let's go ahead and flip the normals back. So let's select this, tap into Edit mode, and press A to select O, press Alt N, and flip the normals back again. That's it. We can tap out of edit mode for a moment on that. Okay, so what next? I don't think we need this side elevation. So let's go ahead and turn off this left side elevation. And let's bring in the front section elevation. As far as the roof goes, I'm not overly worried about the size of it because we never see the exterior side of our kitchen. All our animation will be done from the inside. So it's actually not a detail that's seen too much. We just need it to fill the hole and look good from the inside. But having said that, this is a little extreme right now, so let's do something with it. Let's tap into edit mode, and let's make sure we can select edges, and let's select this edge and this edge. Let's go ahead and take those back to maybe that should be good. And let's do the same on the back, of course, Let's grab this one and then this one. And let's go ahead and take that back as well until it's something like that, that should be good. Okay, so I do want to sort of take this up a little because this is obviously going to be very visible from the windows. But if we go ahead and select the edge right now, it's kind of going to give us problems because if we kind of take it in on the X, it's going to adjust the angle. So we kind of need the Gizmo to follow the angle of the roof. So we can do that right here in this one in transformation orientation. So click on this and click on normals. And now the Gizmo is following the angle of the roof. So with that set, let's go and take that up now. Until that's about there. We can press one, and we can see this from the side if we want, and we can kind of get that right. Like I say, I'm not overly worried, but I'll take it close to about there like that. And let's do the same on this side now. I'll press one again and go ahead and take this into position as well. To like that. So that's a size of our roof. That's what we want. Okay, so let's go ahead and tap out of Edit mode with this. And the next thing I want to do, I'll check the scale and the scale's good. So I'm going to add a modifier to this. So let's go add modifiers and generate. And this time, we're going to use a solidify modifier. Now, the solidify modifier adds thickness to this. So at the moment, there's a minimal thickness on it, but you can see it there. But it's going down and I want it to go up, so I need it to run in the negative. So I'm going to press one so I can see this from the orthographic view. And I'm just going to send this slider over until that's about right for the thickness of our roof. Like I said, I'm not overly worried. I might even go a little bit thicker to about there. But that's fine like that, no. Now that we've done that, I'm actually going to go ahead and make sure that even thickness is on and go ahead and apply this modifier. And there we go, we've got thickness in our roof. I think for this stage, I just want half a roof because the next thing we want to do is put our skylights in. And we want to make sure that the skylights are the same on both sides. So the easiest way to do that is just to do one side and then mirror it to the other. So let's select the roof and tap into Edit mode. Let's press three on the keyboard so we can select faces. Let's select these faces here, this one, this one, this one, and, of course, the one on the inside. Once we've got all those faces selected, let's right click and let's go ahead and delete those faces. Let's put the orientation now back on Global. And let's press two so we can select edges. And let's just go ahead and fill this. Let's select this one. I'm sorry, wrong one. Let's select this one. In fact, we can just hold Alt and select the whole thing like that, and we can press F and go ahead and fill. And there we go. That's good like that. Okay, so now what? Let's go ahead and lose this at the back here, this plan. We don't need that for a moment, so I'll turn off front section elevation. And the next thing I want to do is go ahead and put some vertical loops in this. So let's select this bottom edge here, you know, and let's press Control, huh? And let's roll the mouse wheel until we've got four loops just like that. That's cool. Let's kind of position these. So I'll hold Alt, and I'll grab this one, hold Shift and Alt and grab this one. And I'll keep this distance we've got there. And I'll just go ahead and move that over a little bit like this. Until it's kind of running level with the window, I think that'll be nice. So I'll go ahead and do the same with the other ones now, so I'll hold down Alt and select this one, and I'll press Shift and Alt and select this one. And I think I'll just send this over just a little bit like this till it's kind of level with that door there. And I think that's now good like that. Okay, so the next thing we want to do is bring in some loops in on the sort of the horizontal on this. So let's go ahead and do that. So let's select this edge here like this. And let's press Controller and bring in a loop like this and maybe just bring it down a little bit to about there. But before you click again, we want to sort of make this loop so it's parallel with the top and the bottom face rather than being angular. So go over to flip and even and turn those on, and there you go. That's. Let's repeat that process. Let's select this one and press Control R, bring that in and just slide that up to something like that. Because even and flipped is still on, that's already worked out nicely for us. Okay, so let's press three so we can select faces, grab this one on this one. Right click, and go ahead and delete those faces. Let's grab this one on this one, right click and go ahead and delete those faces. So now let's go ahead and do the sort of the fill thing, which we do. So let's press one so we can select vertices, grab this one on this one, and press F, and grab this one on this one, and press F. Let's press two now so we can select edges, grab these edges. And go ahead and press F and fill that. Now we can select this edge and press F and fill that again. Let's do the same here, so I'll press one so I can select vertices. Select this one and this one, and press F and fill there, and select this one on this one, and press F and fill it. Now I'll select two, so I can select edges. I'll grab this one, this one, this one, and this one. And I'll press F, and I'll fill that. I'll select here, and I'll press F, and I'll go ahead and fill that until it's all. Okay, so that's kind of our roof done, but obviously we need a copy on the other side here, so let's do that next. Let's tap out of edit mode and check the scale, and the scales all good. And you can see this little dot here on our roof, and that's called the origins. So where the center pivot point currently is for that component, and that's exactly where we want it, it's sort of center and the top edge of that. And I reckon if we had a look at the cursor here, we press seven and look down, the cursor and the origins are basically in the z axis in exactly the same place. So this is going to make this easier now to mirror. So let's go ahead and mirror this. So what I'm going to do is select it. And I'm going to press Shift D, and you can see that it's gone white. So that tells us that we have a copy living in the same place as the original. Now I'm going to right click twice on the mouse, one, two. I'm going to go down to mirror, and I'm going to go ahead mirror this in the X axis because we want to bring a copy over in the X axis. And there we go. There's our copy now on the opposite side. That's it. That's our roof. And it's a very airy roof, that's what we want. We want this scene to be really quite ambient with nice, natural, even light all around. Okay, so let's go ahead and do a save on this. So let's press Control S. And I'll see you in the next lecture. Bye bye for now. 12. Lecture 11 Bi Folding Doors Part 1: Hello, and welcome now to Lecture 11. And in this lecture, let's have a go at our bifolding doors on the frontier and the largest of apertures. So yeah, let's have a go at this. So I don't think we need our reference images for a while, so let's go ahead and hide those. And we have the timeline here at the bottom, and it's going to be quite a few lectures till we need this. So go ahead and click on View here and area and go ahead and close area. We will bring that back later. Just gives us a tiny bit more space in our view pod. Okay, so the first thing we can do is let's go ahead and bring in a plane. So let's press Shift A, and we'll go to mesh, and we'll go to a plane, and there we go. Let's bring that up a little bit, let's bring it out on the Y axis. And now let's go ahead and rotate it in the X axis. So let's press x90, and. Okay, let's press one on our numpad so we can see this from the front. And so we can understand what's going on. Let's go into wireframe, so I'll press S and then I'll click on Wireframe. Okay, with the plane selected, let's tap into Edit mode using the tab key. And let's press one on our keyboard to get vertices up. Or again, you can go up here and let's select these top vertices. And let's take those up until they're just the very top edge of our aperture of a hole in our wall. There we go, there like that. Let's check the bottom and see where that is. That needs to come up a little bit, so let's do that. Just bring that up a little bit to about there. That's good. And we'll just grab these ones do, and we'll bring these ones over until they're level as well to about there. And then the last two, let's finish that off now. Take those over. To there like that. And that's cool. That's all we want. Okay, let's go back to solid mode for a moment and see if that's sort of right. And we'll tap out of edit mode. And we'll go ahead and just put that in the aperture. I just check that's looking about right. And yeah, that's looking fine. Okay, with this still selected, I think we can go ahead and isolate it now. So if you hit the forward slash key on your numpad, we can isolate that plane, obviously with that plane selected, and there we go we've got that plane on it, so. Let's have a look over here. Rotation is out, so let's fix that. So let's select it. And let's press Control A, and let's fix rotation and scale. There we go. Alright, so now what do we do? I think the next thing we can do is go ahead and tap into Edit mode with it. And let's press three, so we've got face selection on. And let's press one so we can see it nicely from the front. Select this main face. And I'm going to use a new command now. It's called the NSEtTol. So I'll go ahead and press I. And I'll just move the mouse slightly towards the center to create this border going all the way around. And this border will represent our sort of frame for our bifolding door. So I think I'll make it about that big. I think that looks good to me. Now that I've done that, I'll press two so I can select edges, and we're going to use control loops. So I'll select that one, and I'll press Control, sort of move closer to the edge so we can see it, and I'll rotate the mouse wheel until I've got three, four, five faces. So Blender will automatically divide that equally, so I don't have to work anything out as long as I don't move those control loops. So I'll go ahead and press the left mouse button, and there we go and press it again. And that's good. Okay, so the next thing I want to do is sort of inset again now to create just a small gap here going on each face, going all the way around these to give the illusion of a gap between doors and frames. So let's press three so we can select faces, and we'll grab one, this one, holding shift, select all those faces. And I'll move in a little bit so I can see in detail what we're going to do, and I'll press I, and I'll go ahead and create a gap, kind of like that. Incidentally, if you don't get individual frames in setting to each of those panels. So if you don't get these down the middle here, make sure you're an individual here in your panel. Just make sure that individual is selected, then it'll do it for you. And yeah, I think I'm happy with that. That's just what I want. Okay, so now that I've done that, I'll press one again. And I'm going to go ahead and inset another time now, so I'll press I, and I'll go ahead and inset now to create our frames. And that looks good to me about that like that. That's cool. Alright. So now that we've done that, I think we can go ahead and extrude this out. So let's press A to select all. And let's press E and go ahead and extrude this out. And we'll just take you sort of guess at this, something like that. That looks good to me. I. Alright, so now, the next thing to do is go ahead and extrude all of this in. So what I'm going to do is select this face, this face, this face, this face, and this face. And I don't want to extrude the outer frame. That needs to stay where it is. But we need to extrude everything inside of that inwards. So I've selected those, and now I want to expand on this selection. So rather than individually selecting each bit, I'm going to go ahead and press control. I'll hold down control, and I'll press Plus. And that'll expand the selection at once. And I'll press it again, and that expands the selection a second time. And that's cool. Now, done that. Let's go ahead and press E and go ahead and take that in. And we'll put that about not much on this face, maybe about there like that. That's cool. That's what I want. That's good. Now that I've done that, I'll select these actual panels here, which will be the glass. Let's select those. And let's go ahead and take those back in. So I'll press E and go ahead and take those in as well, to something like that. And now we're starting to look a little bit more like a bifolded window or bifolded door, sorry. So the next thing we need to do is actually go ahead and take these bits in. And there's no easy way to do this. We just need to select these. So I'll start selecting all these ones here on the outer edge, and we'll be taking these ones in to create a sort of a gap between the doors. And it's that one there. And this one here. And this one. And this one, this one, this one. And just take your time and sort of select all these around the outer. Okay, so that's all of them. So let's go ahead now and just sort of get close to it so we can see what we're doing. And let's press E extrude, and let's go ahead and extrude those in just to get a slight bit of depth on the doors. And now we can sort of see what that's going to look like. That's quite cool. That's what I want. Okay, so now let's go to this side now, and let's select these faces. So let's select this one, this one, this one, this one, and this one. Let's hit Control Plus and expand on those selections till we've got all of those. And now let's go ahead and take those in as well. So I'll press E, and take those in like this. Just to get a slight bit of depth on the door. That's good to me. And I'll select this one, this one, this one, and this one. I'm always holding Shift when I'm selecting so that I can select more than one object. And now I'll press E, and I'll go ahead and take those in like this to get a little bit of depth to the doors. Like that. That's cool. All right. So now let's go ahead and create this little gap between these again, so we need to select these faces. This one, keep going. Okay, let's go to the top and have a look. And this one, that one And then we go that's all of them. So now that we've done that, let's go ahead and press E and take those in to create a little bit of depth on the inside of the door. There we go. That's cool. Okay, so you can see that really wasn't too bad at all. We've already got some bifolding doors built. So in the next lecture, let's add some extra details to these. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 13. Lecture 12 Bi Folding Doors Part 2: Hello, and welcome now to Lecture 12. And in this lecture, let's add some extra details to our bifolding doors. So we've gotten our bifolding doors sort of modeled now. We've got the glass and we've got the inner frames, then we've got the exterior frame. So that's all in, and that's looking good. But let's add some seals to all of this so that it's details that makes a good render. If you don't have much going on in it, it's never very convincing. So we need things like seals to make this actually pop. So let's put those in next. The first thing you need to do is make sure you're working on the interior face of the door now. The exterior will never actually be seen, so I'm not overly worried about putting details on that. It's just the inside that we need to look at. So we could actually just bring everything back for a second, just to confirm which is the inside and which is the outside. So now that I know, I'm going to go ahead and press the forward slash key to isolate it again and go around to this side. Okay, so let's tap into Edit mode with this. And the first thing we want to do is bring in like a glass seal, which will run between the glass and the frame. So I'll show you a little trick for doing that. Make sure you're in edge selection and select these edges here. One, two, three, and four. And once you've got those, go ahead and press shifty and Y and bring a copy out like this. And with those still selected, go ahead and press P and separate by selection. And there we go. If we hadn't done that, blender would still recognize this little frame that we just extracted as part of this bifolding door. So we need to do that so that this is now a completely separate component. So if we tap out of edit mode for a moment now, if we select this, if it was still a part of this bifolding door, when we selected this in object mode, this would automatically highlight as well. So we know now that it's a separate item. Okay, now that we've done that, let's go ahead and rename it. So let's go over to the outliner, and you can see it's highlighted here, so let's double click on it. And let's call this the glass seals. There we go. That's cool. Once you've done that, right click and go ahead and convert that to a curve, and there we go. Make sure you're in object data properties. What I'll do actually is I'll just close these down so it looks more like your screen. So select object data properties. Select the item first and select object data properties, and then hit this little drop down the geometry one. Come down to this bevel section here, and in the depth, go ahead and just click this once to the right, and let's see what we've got. And that's cool. That's given us some thickness snow to that curve, as you can see. So let's go ahead now take that back. But as you can see, the gizmo is way over here, nowhere near our little glass seal. So how do we sort of deal with that? The reason being is because the origins are still part of this because it took its copy from the bifolding door. So select it and right click and go ahead and set the origin to the geometry, and there we go. Now we're good to go. Let's go ahead and take this back a little bit, so it's in position and see if the scale is good, if the size of this is nice. Maybe you will make it a little bit bigger. So I'll go over to the bevel here. And I think I'm just going to add a two behind the one and click Enter and see how that looks. And that looks better, I think. So I'm going to go ahead and press G and Y. Just take that in a little bit more. So it's about half and half. And the next thing I'm going to do is go ahead and right click and convert that now back to a mesh, and that's cool. And now that we've done that, we can go ahead and apply a shade ato smooth, and there we go. And that's looking good. I'm pleased with that. Okay, let's press Control one to get the orthographic view with that seal now. And let's press S and let's go to wire frame. Let's select our little seal. And let's press Olds D and X and bring a copy over like this. Censor that as best as we can. There we go. That's cool. And once you've done that, go ahead and press Shift R, and blender will repeat that last command. That's cool. That's what we want. So you notice I used Alt D commands. I did a Shift decommand. And the reason I did that is because when you use an Alt D command, whatever properties are in the original seal, which is this one over here, I think, those properties will then be shared with all the duplicates. So if I scale the original up or if I apply textures to this one, all the other ones will have the textures applied to them. And the same applies to any of them. If I apply textures to this one, all the rest will have the same textures. If I scale this one, all the rest will be scaled. So one, it speeds up the process of rendering, actually applying textures to surfaces, and two, it actually reduces file size and speeds up renders, because it hasn't got to apply textures and shading to each of these components, it can apply it to just one and then automatically be done to the other. So in circumstances like this, we use the Alt D command instead of the shift for copying. Okay, so let's carry on. So I'll press set, and let's go back to solid view, and let's see how that looks now. And yeah, so that's looking good. We have our seals in position, and we can actually just maybe take a second to try and make that a bit better. So I'll press G&X on this one, and go ahead and just buffer that over a little bit like that. Maybe a little bit more GNX. There we go. That's better. And let's do this one, too. So I'll press G&X sort of centralize that one a bit better. That one's okay. And this one, too, maybe we can centralize this one a bit better, too. And that's cool. That's good. Okay, so we've got a nice looking little seals between the glass and the frame now. Okay, so the next thing you want to do is put like a seal between the doors. So a seal running vertically between these doors here. So let's go ahead and do that next. So let's press seven on the numpad to see this in the orthographic view from the top. And let's press seven, and let's go into wireframe, and let's tap out of added mode for a moment. And let's go ahead and bring in cylinder, let's press Shift A and mesh, and let's bring in a cylinder, and there we go. So we've got 32 vertices in this, and this is way too much for this. So we'll make this around 15, I think. Let's select the item, and let's press seven again and let's S and scale it down. And now let's bring that into the door like. And sort of position this right here like this. Bring it back. Bring it in between the doors, which is this little bit here, and then go ahead and press S and scale this down like this. And maybe take it back a little bit and maybe scale it up a little bit. And I just scale it down in the X. I'll press S and X, and that's kind of the effect that I want something like that. So I'll go ahead and press Control one now to see this from the front, and I'll go ahead and take this up a little bit like this. And position this just there just at the edge of the doors, and then tap into Eddy mode and press one so it can select vertices, select all these top vertices, and then go ahead and take that up like this. To the top like that. Let's go and have a look at the top and see what that looks like. And there we go. That's cool. Let's tap out of Add mode with that. And let's go back into solid mode, and let's have a look at that in place. See how that looks. Let's do a shade Auto smooth on it. And I'd say that's good. No. That's looking good. That's just giving a nice little detail to everything. Okay, so let's press seven again to get into the orthographic view. Let's press set and go let's go wireframe. And now let's press Alt D and X and bring a copy over like this. Let's position that where we want it. Which is there like that. And let's do the same again. Now, let's press Alt D and X and bring a copy over like this. Let's position that one where we want it. And let's do that again. So press cult D and X and bring a copy over like this and position this one where we want it, as well. Is that the last one? That's the last one. That's cool. Okay, so let's go back to solid mode for a moment now and just see how that looks. And that seals looking good. I'm pleased with that. Okay, so we're gonna, like I said, we're not going to put any seals on the outside of the window because they'll never be seen. But I think the next thing I want to do is go ahead and maybe just put a seal between the door and the frame. So let's see what we can do with that. So let's go back to wireframe for a while. And let's select our seal here. And let's maybe go seven so we can see this from above. Now let's press Shift D in this case, you probably need to scale it. So let's press Shift D and X and bring this one over like this. Let's bring that now to the edge of the door here. Put that in position like this and maybe just scale it down a little bit. Maybe scale it down in the X, S and X, maybe bring it up a little bit. There we go and scale it a bit more in the X or S and X. And there we go. Let's have a look at that and see how it looks. Let's press Control one, get us in the orthographic view. And let's go ahead and bring this down a little bit. And now let's tap into Eddy mode, and let's select our vertices on the top here and go ahead and bring that back up to the top like this. Okay, that's good. Let's tap out of Edi mode with that, and let's press seven to see that from the top. And now we can press Shift D and X and bring a copy over now to the opposite side. P. That's cool. We're nearly there. Bring that over here like this. And that's cool. Let's go ahead now and press Control one to see this in the orthographic view. And let's make another copy of this. So let's press Chef D and X, bring a copy out like this. And now let's set the origin to the geometry to bring the origin to the center of this. Now let's rotate that and the Y axis. So let's just press, 90, Enter. Let's bring this up now, and let's put a seal now across the top. Let's have a look at where that is. Maybe just bring that up a little bit more to about there like that. And that's good there. Let's tap into Edy mode with it. And let's select these vertices here and then bring those over until those are in the right place on this side. Just sort of flushing up to the other seal that we put in. There we go. That's cool. Let's tap out dimode with that now. And now let's go ahead and press Shift and Z and bring a copy down to the bottom. Put that in position now here like this. There we go. That's cool. Okay, so let's go back into solid mode now for a moment and let's have a look at what we got here. Let's do a shade auto smooth on some of this. Let's grab this one and we could do a shade auto smooth on that, grab this one, do a shade auto smooth, let's do the one at the top here, grab this one, do a shade auto smooth. Then that's what are these like. These are done. They're fine, and there's just this one here as well, I think. That one there. Do a shade or smooth on that. Okay, so that's pretty much our door done. I think the last thing we need to do is just organize our outliner. So select the walls and windows and doors just here. And let's hit our little plus sign here to create a new subfolder. Let's double tap on it, and let's call this the bifolding There we go. That's cool. Now let's grab absolutely everything here and just make sure we have everything selected, and press M and then go down to walls and doors and then select the bi folding door. And now all those components have been put in our new subfolder, the bifolding door. So we can actually collapse that and there we go. So we could go ahead and turn that off and turn it on just to check that everything's in that folder. There we go. So that's our bifolding doors done. So let's hit the forward slash key to bring that back. Let's select the bifolding doors and select all items in there. So I'll hold down shift and come right down to the bottom like that. And now let's go ahead and take that in a little bit until we're in position like that. Let's have a look at the inside and see how that looks, see if we're happy. And there we go. That's cool. That's our bifolding doors, all finished. So let's go ahead and do a save on that, now, so we'll hold down Control and press S. And we've done a save. Okay. That's it. So in the next lecture, let's have a go at our little side door here. Okay, thanks very much. And I'll see you on the next one. Bye bye for now. 14. Lecture 13 Side Door Part 1: Hello, and welcome now to Lecture 13. And in this lecture, let's go ahead and do our little side door here. Let's see what we can do with this one. But there's one thing I forgot to do with our bifolding doors from our last lecture. So let's do that quick. And that is, we didn't apply a bevel to the edges. And it's a really important thing to do with three D modeling because almost everything around you doesn't have. If you look around you now at tabletops and the corners of your monitors and everything, everything has a slight round to an edge. Nothing has an absolutely 90 degree crisp, sharp edge. So if you don't put a bevel on there, it really detracts from the realism. So let's go ahead and do that. So let's select it, and let's check the scale on the rotation, and it's all good. So let's hit the modifiers tab, add modifiers, generate, and bevel. And there we go. It's applied a nice bevel to that. Let's try increasing the segments to maybe a three. And let's zoom out a bit and have a look at that and I think I'm happy with that. I'm going to go ahead and apply that. Now that we've done that, I'll go ahead and do a shade auto smooth on that as well, and there we go. That's now our bifolding doors all finished. Cool. That's one thing done. Okay, so now let's go ahead and have a look at our little side door. Let's see what we can do with that. So I think the first thing I'm gonna do is let's go into wire frame, and let's press three to see this from the side. Let's press Shift A, and let's go ahead and bring in a cube. Let's take this up a little bit like this, and let's take it into the doorway, which is just here, and let's and scale this down now. Take this over to the edge like this. And I think I'll tap into Edit mode with that now. Let's have a look at this. Let's just press G and then Y and then take this over a little bit to about there. Let's select these vertices on this edge now, pull back a little bit so we can see what we're doing. And I just take this over to get a door frame thickness. And I'd say that's about right for a door frame. So let's select these top vertices now and pull these up to the top. Pull those whoops, pull those all the way up to the top like that. There we go. Let's select the bottom vertices now, and take those down. And I think the next thing we need to do is figure out where that is in the room. So let's press seven on our lumpad to see that from above, and let's go ahead and pull that whole thing over. Maybe tap out of Eddy mode for a moment and now take that over to our door like this. Put that in position. About there on the internal edge of our wall. Okay, so let's go back into solid mode now and see what that looks like. I think that's fine. So let's go ahead and apply, well, let's fix the scale on it first. So let's press Control A and apply rotation and scale. Let's add that bevel modifier to this. And let's maybe put two zeros to the right of the decimal point. Press Enter and see what that looks. And we'll increase the segments to maybe a three and maybe just increase that one, two, two, and enter. And I think I'll leave that just like that. I'm going to go ahead and apply that modifier. And let's press three to get back into the orthographic view. And let's press h D and Y and bring this copy over now to the opposite side like this. Let's pull that to the edge like this. That's cool. Now let's make another copy of that. So let's press Shift D and Y and bring a copy into the middle. And let's rotate that. So let's press 90, Enter. And let's take that up to the top like this. And let's just take that up a little bit zoom in so we can see what we're doing and take that up to about there. And let's just bring that over now. I'll press G and Y and bring this one over. Till it's just about on the edge. Maybe one more time. I'll press G and Y, and just put that. I'd say about there like that. That's cool. Let's tap into Edit mode with this note. And let's press wireframe. Let's go into wireframe with that, select the vertices and go ahead and bring those back into where they should be. And I just edge those up to the other ones like this. There we go. That's cool. That's what I want. Okay, so let's tap out of Edit mode with that. And let's just select maybe this one and a whole shift and select this one. And let's tap into edit mode with those and select those top vertices. I think this is maybe something I need to do. Yours is probably fine, but I'm just going to take mine up a little bit more. So I'll press G and Z and just tweak those up a little bit more till they're level with the other ones, like that. There we go. That's cool. Okay. So now that we've done that, let's go ahead now and go back to solid mode for a moment and have a look at our work and see how it looks. And yeah, that frame's just what I wanted. That's looking great. Okay, so now let's go ahead and work on the door. And I think with our frame now, we've got all the information we need. I don't think we need the house for a second. So with the frame selected, I'm going to hit the forward slash key on the number pad to isolate that. And I'm going to press three, so we see it from the side. And let's bring in another item. So I'm gonna press Shift A, and I'm going to bring in a cube. Let's hit S straightaway and scale that down. And let's bring that over and bring that to the kind of edge of our doorcase like this. Let's see where that is in relation to our doorcase. I want a tiny little gap between them, and actually, that works just nicely as it is there, that little gap between them. Maybe let's go ahead for a set now and let's go into wireframe. Okay, so let's tap into Edit mode with this. Let's grab these two vertices here and let's have a look how wide the side rails, the styles of our door are going to be. And I'm going to put them about there like that. That's about right to me, just like that. And I'll select the top two, and I'll take those and put those about about there like that, I'd say, again, a slight gap at the top is what I want to see. And let's grab the bottom ones now, and let's bring those down. And again, we'll leave an such ever so small gap at the bottom, as well. Something like that. That's cool. Let's press seven to see where that is. And maybe we'll tap out of edit mode for a moment. And now let's go ahead and just bring that over like this. And let's scale that down in the X, we'll press S and X and just bring that down. To about that thick. That's like that. Now we'll bring it to so it's flush with the interior face of the door frame. So bring it there like that. That's about right. Okay, so that's the one side of our door done. So the next thing we do is let's tap into Edit mode with it. And let's press two on our keyboard so we can select edges. So let's select this edge here like this now. And let's press Control. And now let's bring a loop in like this. Let's roll the mouse wheel until we've got three loops. Whoops. That's one too many. There we go. Let's left click twice until we've sort of set those items, but they're still highlighted. And now let's press S and then Z to increase the scale. So we're increasing the spacing, if you like, of those. And now just eye up what you want the cross rails of the door to be. And I think that looks about right to me there. I'll zoom in a little bit, and I'm going to select this loop here now. Once I've selected that loop, I'm going to press Control B, and I'm going to go ahead and put a bevel in this one to get an angle like that. There we go. Do I want to make that slightly bigger? Think I'm going to press S and Z and go ahead and scale that up a little bit more? To about that there like that. And that's cool. Okay, so let's go back to solid mode for a moment now, and let's have a look at this. And maybe let's tap out of dime just for sec. And let's press three to get us the side view again. And let's press Shift D and Y and bring a copy over now to the other side like this. And take a sect to position that. Have a nice sort of gap down the side. That looks pretty good to me. Let's leave it like that. Okay, so the next thing we want to do is sort of bring some sort of cross rails in. And because we've put these construction loops in these, it's not going to be too difficult at all. We're going to use the bridge tool to do this. But I'm just going to show you what happens if I do this now. So I'm going to press three so I can select faces. You don't need to follow along for a sec. So if I select that face like that, and I'm going to press that face there like that. So I've selected those two top ones. I'll right click and I'll go ahead and bridge faces. And all it's done is dissolve to those faces. So the bridge tool isn't currently working. And it's not working because these are currently two completely separate components. So we need to make them one component. So you can see here in the outline, we have cube oh three and cube 004, two separate items. So I'm just going to press Control Z to delete or go back from that last bridging move. And I'm going to tap out of Edit mode for a moment. And I'm going to select this one and then this one. And I'm going to press Control J, and that's join them now into one item. And that item now is cube 004. And now if we go back into Edit mode, so I'll hit the tab key to go into Edit mode, I still have those faces selected, so I'll right click and I'll bridge faces. And now it works just fine. So that's the easiest way for us now to be able to join those two faces together. And you'll see how easy it is now to finish off making our door. I'll select this one and this one, right click and bridge faces. And we'll do that again. This one. I'll shift, select this one, right click and bridge faces. And there we go. So that's our Dorcase. That's our door actually pretty much made. So what we can do now, maybe, is we need to create some panels to go in this. So I'll press three on a numpad to get us the orthographic view again, and I'll press Shift A, and I'll bring in a cube. And let's bring that over so it's sort of centered to this lower aperture in this door like this. And let's hit S to scale this down. And we'll scale this down to ft like this. Let's maybe tap into Edit mode with this one now, and let's go into wireframe. Maybe let's go into vertice selection. We'll grab these top vertices here, bring these up like this. Grab the lower vertices and bring those down. And let's finish off. Grab these ones. Take this over like this and grab these ones and take this over like this. Okay, so let's press seven, so we see where that is. And it's probably not near the door. Here it is here. So let's tap out of added mode for a moment and bring this over to the door like this. And now let's go ahead and scale that down in the X, so I'll press S&X and bring that down like this. Centralize that in the door, something like this. And maybe I'll scale it down a little bit more, so I'll press S&X and bring that there like that. Okay, so that's cool. So now that we've done that, let's press three on a numpad again to get that orthographic view. And this top opening here is identical to the bottom opening. And I know that because we just used the control loops, and then we scaled and we created a bevel for this center one. So that means that everything is set symmetrical. So let's go ahead and just bring a copy up to the top using the Alt D command. So I'll press Alt D and Z and bring a copy up so that now when we create a texture for the bottom panel, we'll automatically have a texture for the top panel. And we'll bring that in and put that there like that. And that's cool. Let's go back to solid mode for a moment. And I think the next thing we need to do is go ahead and create a sub folder for this. So I'll click on the walls and windows and doors, and I'll click on the little plus side to create a subfolder. Let's find that folder, and there it is there. So I'll double click on this. And I'm going to call this the side door. There we go. And now what I'm going to do is select everything here. And I'm going to press M, and I'm going to go to walls and windows and select the side door. And now that everything that's within this door case and frame now is in our side door group. So we can actually compress our bifolding door group, and you can see how simple our scene is. We just have a bifolding door, side door, roof, roof one, and walls. And that's it. Okay, so I think that's it for this lecture. Let's bring everything back for a moment. Is there anything else we want to do? Did we apply a bevel to our door frame? I can't remember if I'm honest. Did we? Didn't I don't think we did, so let's go ahead and do that. So let's select it. The scale is out, so let's press Control A. And apply rotation and scale. Let's add the modifier, generate and bevel, and let's increase the amount of zeros to the right of the decimal point by two, and click Enter, and there we go straightaway that's looking a lot better. We'll increase the segments maybe to three, and that's it. I'll go ahead and apply that. And also, I'll do a shade auto smooth on that frame. That's it. Now our frame is complete. So let's do a save, actually, so I'll press Controls and do a save on that. And in the next lecture, let's go ahead and make some hinges for our door to add a little bit of realism to it. And we also need a handle, as well. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, Fino. 15. Lecture 14 Side Door Part 2: Hello, and welcome now to Lecture 14. And in this one, let's go ahead and finish off our little side door here. Let's put some extra details in it. But one thing I've noticed with this, if I just click on the door for a moment. I've used the auto smooth, but it's put like a sort of a rounded appearance on the surface. And I don't like that, so I'm just going to back off the angle tolerance on the smooth here and just see where it sort of clicks back to having a flat face. There it is. It's just clicked over there. Let's just try. I'll leave it just there at about 16.7, and it's rounded over that bevel, which is what we wanted. But it's also left the face of the door flat, so that's much better. Okay, so now that we've done that, let's go ahead and select the door and the frame. And let's hit the forward slash key and go ahead and isolate. Okay, so now what are we going to do? I think the next thing we want to do is we want to bring the cursor over to the door. So I'm going to go ahead and select the door, and I'm going to go ahead and press shifts, and I'm going to say cursor to the selected, and there we go. And by doing that now, when we bring in our next item, which will be a cylinder, it'll drop the cylinder right there on the door, rather than coming in at the world origin there and us dragging it over, it's going to be pretty much where we want it. Okay, so let's press Shift A, and let's bring in a cylinder. Let's make sure that is the vertices 32? Is that too high? I think I'll leave that where it is. I'll just leave that at that and I'll hit S, and I'll start scaling this down. I'll scale it down to maybe something like that. And now I'll press Control three to get us the orthographic view, and I'll press y90, Enter. I'll bring this over because I'm going to put the handle on this side. And obviously, that's a little too big at the moment. This is going to be like the rose, which is the back plate for the handle. So I'll hit S, and I'll scale this in. Two, I get it maybe about there in size, I'd say. I'll position this where I think the handle should be, which is maybe is that's too much? I'll bring that down. And I think I'll bring that down to about there. I'd say that's about right. Now that I've done that, let's have a look at this. And let's bring this over on the X axis. Until it's just on the surface, let's go ahead and tap into Edit mode, press three so we can select faces. Grab this face here. Now go ahead and take that in. So we've got this kind of backing plate to our handle. And yeah, I think I'm happy with that. Now I want to apply a bevel to this edge, but I know if I go ahead and apply a bevel, now it won't work because the scales wrong. So let's tap out of Edit mode for a moment. Look at the scale and the rotation and the scale is wrong. So let's press Control A. And let's apply the rotation on the scale. There we go. Now we can tap back into Edit mode, and we can press two to select edges. And because we had that face already selected, blenders automatically selected that outer edge there. But that done, we can go ahead and press Control B and go ahead and bevel that. And I think that'll be about enough. I'll roll the mouse. Weg to get some extra edges in that, and I think that looks good to me just like that. So I've got three segments, and there we go. That's cool. Okay, so I'll leave that like that for a moment now. And the next I'm going to do is bring the cursor over to this. So I'm going to press Shift S and cursor to the selected, and there we go. So now the cursor is dead center to our little plate here. So I'm going to bring in another cylinder, so I'm going to press Chef A and cylinder. Let's bring this in. This time, I'm going to go ahead and bring the vertices down to maybe 22, I'd say. There we go. And I'll hit S, and I'll scale it down. And I'll rotate that on the y axis, so I'll press Y, 90, enter, and I'll hit S and carry on scaling this down like this. Scale it down a little bit more, a tiny bit more to about like that. That's cool. I'll go ahead and take this in now until it just about touches the other surface. There we go. That's cool. I think I'll make this a little bit longer, so I'll tap into Edit mode, press three, so I can select faces, grab this one and just bring it out a little bit more, and there we go. That's what I want. Okay, so now that we've done that, let's go ahead and bring in or shall we? No, I think I'll just copy that one. So with this one selected, I'll go ahead and press Shift D and X and bring a copy out from that one like this. We can go ahead and rotate that now on the Z axis. So I'll press z90, Enter. And now we'll go ahead and take that in a little. To about there, and we'll hit S, and we'll scale it up a tiny bit to something like that. There we go. We can go ahead and take that over on the y axis now a little bit to about there. And let's tap into Edit mode with that, select this face here. And let's press Control three so we can get a sense of the size of this handle now and maybe just pull this out to get our handle. And that's about it. I think that's about right with this do. Maybe in a little bit, actually. And there we go. So now that we've done that, we can tap out of Ada mode with that. And let's fix the scale on that. So I'll press Control A and apply rotation and scale. And now let's go ahead and add modifier and generate and bevel. Let's add two zeros to the right of our decimal point. And let's have a look at that. Maybe let's turn that one into a two. And let's increase the segments to three, I think, and that's fine. I'll go ahead and apply that. Let's do a shade oro smooth on that one, and there we go. That's good. We can go ahead and do a shade auto smooth on this one as well, and that's got that sorted. But I want a little gap here between this one and this one to make it look a bit more realistic because at the moment, it just looks like this one vanishes into that plate. So let's do that next. Let's select this one and tap into edit mode with it. Let's press three so we can select faces, select this face, and I'll press eye to inset now bring this inset into about there like that. That I've done that, I'll press E and X and go ahead and take that back to get a recess there. I think that's going to look a little more realistic with that recess there like that. Could you go ahead and put a bevel on there, actually. So I'll press two so we can select edges on the keyboard. I'll hold down Alt and I'll select that edge there to get all of that. And now I'll press Control B, and I'll put a slide bevel on that edge, too. Something like that looks about right to me, and I'll leave that on three segments. Okay, so that's cool. That's done. Okay, let's tap out of Edit mode, and let's go ahead and do a shade auto smooth on that, and let's have a look at our handle and see what we think. Am I happy with the scale? I think for a minute, I'm going to bring back the rest of the room just to see. And yeah, I think I am. I think I might take the whole thing up a bit. Before I do that, I think I'm gonna join all of these together. So I'm going to select this one and this one and this one. And I'll find it. It's in the side door file, and there they are cylinder oh eight, oh nine, and oh ten. Were those selected? Let's press Control J and join them into one. And that's it. Now it's just one item. And let's go ahead and rename this. Actually, why not? And we'll call this the door handle. Whoops, so more like ap son. There we go. Okay, so now let's have a look at that. Maybe just bring that up a tiny bit, I think. I'll take it closer to the edge of the door. Do I want to scale that down a little bit or am I happy? I think I will leave it at that size for now. And when I've got a lot more modelling done, when I've got a lot more cabinetry around it done, I'll get a sense if that scale is good or bad. So for now, I'll leave it and maybe further down the road, I'll scale that down a bit. Okay, so let's Let's carry on with the hinges now. I'll select the frame again. Door. And let's go ahead and isolate those. I'll press the forward slash key on the numpad. And what I'll do now is I'll press Control three to get us the orthographic view. And I'll go ahead and bring something else in. So I'll press Shift A, and I'll bring in another cylinder. This is definitely the lecture for cylinders, isn't it? For the vertices, I'll bring this down quite a bit, I think, to maybe a 16, and I'll press S, and I'll go ahead and scale this down quite a lot. Let's slide this over on the Y axis now and sort of put this on the edge. And let's have a look at this. Maybe we scale this down. To something like that, I'd say, it's about right. So now that we've done that, let's go ahead and fix the scale on that. So let's press Control A and apply rotation and scale. Let's go ahead and add a modifier to it and we'll add the bevel modifier to it, and we'll go ahead and up the zeros to the right of the decimal point by two. Clagena. And I will leave that, I think, like that. Maybe increase the segments to two, and I'll go ahead and apply. And let's go ahead and do a shade oro smooth on that, and there we go. That's cool. Let's press Control three again to get us into that orthographic view. Let's grab this, and let's go ahead and take that up now like this to the top of the door and let's put this one into position. So we'll sort of bring it in like this. Maybe too big. I think maybe it is. I'm going to hit S and scale this down a little bit more, actually. Just something like that. I think that's better. And let's reposition this we scaled. And that's about right. So press Control three to get us that orthographic view again. And I'll go ahead and press Alt D and Z and bring us a copy down like this and put it just on the underside like this. Let's zoom in a little bit and have a look. Put that just underneath that. Let's hold Shift and select both these items now and press Alt D again, and press Z and take these down like this and put that underneath like that. There we go. That's cool. Okay, so let's select all of these now. And with all four selected, let's go ahead and press Control J to join those into one. There we go. And we can go ahead and name this. It's cylinder 11, and I'll double click on it, and I'll call this the henge. There we go. Let's press Control three again to get us the orthographic view. Zoom out a little bit. And now let's go ahead and press Alt D and Z and bring a second copy down to the bottom of the door like this and put that that. Okay, let's hit the forward slash key and bring everything back. And I think I'm happy with those hinges. Those are looking good. I'm not sure about the handle. The handle, I may reduce the size on that, but I think, like I said, for now, we'll leave it, get more going on around it, then decide how it looks. Okay, so I think we'll call this lecture done, and in the next lecture, we'll go ahead and start our window, shall we? Actually, let's do a save. So let's press Control S, and let's do a save. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 16. Lecture 15 Windows Part 1: Hello, and welcome now to lecture What lecture we are? Lecture 15. And in this lecture, let's have a go at starting our window. Um, this will probably take a couple of lectures to get this done, but that's fine. We're doing well. So I think the first thing we can do is go ahead and bring the cursor now back to the world origin. That's probably the best place for it. Instead of do that, let's go ahead and press Shift S and cursor to the world origin. Okay, let's press three so we can see this from the side. And let's press Shift A, and let's bring in a plane. Let's bring that up a little bit, and let's bring it over on the Y a little bit. Now let's rotate it on the y axis. Let's press Y, nine, zero, and. Let's bring in the middle of the window like this. And let's go ahead and tap into Edit mode with that. And let's go into wire frame for a while. Let's press one so we can select vertices. I'll select these ones here on the top and we'll bring those until they just level with the edge of the window opening, the hole in the wall, if you like. Let's do the same with the bottom ones now and bring those up. And the side here, let's do the same here. And the last one here. Let's bring that in as well. And that's cool. Okay, let's tap out of Edit mode, and let's go ahead and hit the forward slash key to isolate that object, and there we go. Let's go back to solid mode for a while now. And let's fix the rotation and scale. So let's press Control A and apply rotation and scale. That didn't work. Let's try that again. Control A, and apply rotation scale, there we go. Let's tap into Edit mode with that one, then. And let's press three so we can select faces, select this face, and we'll press I to inset, and we'll go ahead and inset this now to create a window frame. And I'll go, I'd say about there looks about right to me. I'll press two so I can select edges. I'll grab that edge there, and I'll press Controller, and I'll put one loop in the middle like Okay, so I'll select this one here now, and I'll select maybe this edge as well, and then this edge, as well. And I'll go ahead and press Control B and go ahead and put a bevel on that edge to create a center in our window frame. And I'd say that's about right about there. There we go. Okay, I'll press three, so we can select everything again now, and I'll press A, and I'll go ahead and go ahead and press E and X and go ahead and stru this out to get some thickness snow to our window. And I'd say, that's about right. Okay, now let's select these faces, this one, this one, this one, and this one, and we can go ahead and press X, and we can delete those faces. Go. Let's press one so we can select vertices. And let's go ahead and select these vertices here, this one, and this one, and press F and fill. Do the same again here, press F and fill. And let's do the top one as well. And fill, and one more here. And go ahead and press F to fill. Let's press two now so we can select edges, select these edges, this one, this one, and this one, and let's press F again to fill. Now let's select this edge here, and we'll press F, and blender does this little magic trick. There we go. That's all closed in there. So now we need to repeat that process on this side. So let's go back to vertices selection, select this one and this one and press F to fill, and this one on this one, press F. Press F. And the last one is here. And we'll press F on that as well. Let's press two so we can select edges and then grab these edges. And let's go ahead and press F and fill that. We'll select this edge again now, and we go ahead and press F to fill and close in that gap. There we go. That's cool. So now we need to create an extra loop on these, so let's do that next. So let's press two so we can select edges, select this edge here, more press Control R. Bring the cursor closer, and then just let that drop maybe in the middle. And now select this one and press Control R, and just put a loop in there as well like that. Okay. That's cool. So now we need to sort of bring these new faces down a little bit. And I want to show you some tricks with extruding now. So let's press three so we can select faces. Now, you don't need to follow along for a second. I'm going to make a deliberate mistake. If I select these two bottom faces now, and I press E for Extrude and then Z and then bring that down, it's extruded that down as we want. But it's left this face here, this extra face, and we don't want that. So I'm going to show you a trick to avoid that. I'm going to press Control Z just to undo that last command. With those faces still selected, I'm going to go ahead and press Alt E, and that's going to bring us up a menu for truding. So we're going to go for manifold. Click on this, now bring those down, and now we haven't got those extra faces. There we go. That's cool. That's what we want. So, let's go ahead and repeat that now. Let's grab maybe this face here and hole shift and select this face here. We'll press Alt E. We'll go for manifold, and now take that over like that. There we go. That's cool. Let's repeat that again. So we'll grab this one here and hold shift and select this one here, and we'll press Alt E and manifold and go ahead and take that over as well to create a step there too. We just got the top to do now. So this face here, hold shift, and select this one, press Alt E and extrude manifold and take these up now like this. There we go. That's cool. So now we've got this extra sort of step in our window frame. So I think I'll go ahead and remove some of the extra edges here. So I'll press two and select this one and this one and this one. I'll right click and I'll go ahead and dissolve those edges. There we go. And I'll go ahead and do the same here, this one, this one, and this one, right click and dissolve those edges. And let's do the same on the face as well. And one more here. Right click and go ahead and dissolve those edges. Okay, so I think I don't want the frames to be on this face here completely square. So I'm going to do it put a little angle on this. So I'm going to select maybe this edge here and this edge here. And I'm going to press Control three to get us the orthographic view. And I'm going to go ahead and just drag those edges up a little bit like this. Just to get a slight angle on that. I'm going to do the same on this one now. We're just going to do this by eye, really. And we'll bring those ones down as well. A little bit like that. Let's have a look at both of them. And yeah, that looks about right. And we'll select this one now and this one. And let's press Control three again. And let's bring those ones over as well. We'll do the last ones here. So this one here, hold shifts like this one here. I'll press Control three again, and I'll bring those ones over as well, just to create that angle there, just to create a little bit extra features and a little bit extra dimensions to our window frame. So that's our window frame actually made. So now we need to make the window casements. So, how are we going to do this? Let's press Control three to get us into the orthographic view. I'm sorry, let's just press three. I'll hit the tab key, and I'll press Shift A, and I'll bring in a plane. Let's bring this up, and let's rotate that on the Y axis. I'll press Y, nine, zero, enter, and let's bring that over to the middle of our first one like this. Let's tap into Edit mode with that. Press one so we can select edges, and let's go ahead and make this fit. Bring that down to there. Maybe let's go into wire frame. And let's take that up because we want it to go to that point there. And let's do the bottom one now. And we'll take that up to that sort of middle line or that line that's one third over. We'll take that to there. There we go. And let's grab this one and do the same. Take it to that line there, like that. And let's do the last one here. Take that back and put that there like that. There we go. That's cool. That's what I want. Okay, let's go back to solid mode for a moment now. Let's press three and numpad to go into the orthographic view. And let's go ahead and press I and let's inset this now to get a casement frame. And I think I'll go for about how about that thickness there like that. That's cool. Once we got that, let's press A to select. And let's go ahead and extrude that in the X axis. So let's press E and X and go ahead and extrude that to something like that. Let's press seven to see this from above, and let's go into wireframe for a while and see what we got, and let's go ahead and take that to our sort of edge of our sort of second edge on a frame. Okay, let's press one. And let's grab these ones and then bring this over a little bit more, just doing some tidying up. And let's do the same here as well. Let's grab these ones and take that over a little bit like that. That's cool. That's what we want. Let's go back to solid mode, and let's press three so we can select faces. I'll grab this one and I'll press E and just take that in just a little bit, and then I'll grab this one, and I'll press E, and we'll take this one in a little bit as well like that. And that's looking good to me. That's what I want. Okay, so what else do we want to do with this? Let's have a look at the scale and the rotations out. So let's press Control A, and let's apply rotation and scale. And let's go ahead and tap back into Eddy mode with it, and let's press two so we can select edges. Let's hold down Alt and select this edge here. And let's press Control B. And let's see if we can put a bevel on that edge, a small one, something like like that. Maybe increase our segments to three. Let's have a look at this upclose. And yeah, that's fine. That's what I want. Okay, so that's our frame done. Is there anything else we want to do? Of course, we need to bring this one over to the other side. So I'll press seven again, and let's go back into Y frame with this one selected. And let's go ahead and press Alt D and Y and bring over one to this opposite side and sort of position this manually. And that's looking good. Yeah, that's looking great. Okay, let's go back to solid mode for a moment. And what else do we want to do? So let's go ahead and put a bevel on the frame. So let's select the frame like this. Let's check the scale. It's all good. So let's add the modifier, generate, and bevel. Let's have a look at that. Let's zoom in a little bit. Let's add two zeros to the right to the decimal point. Look on Enter. And I think I want a little bit more than that, so I'm going to turn that one into a three and click Enter. And see how that looks, and I think I like that. Let's increase the segments to three. And yeah, I'll go ahead and apply that. I'm happy. Let's do a shade oro smooth on it, and there we go. There's a frame. It's put this sort of weird, sort of streaky angle in that. So let's go ahead and change the angle on this. And I think at around 15 that should sort that out. There we go. So yeah, around 15. That was a good guess. Okay, so that's looking good now, and that's our frame complete. So let's just organize our outliner now. So let's go ahead and create a new folder inside our Windows and door folder. So with this selected. Let's hit the little plus sign here. And let's double click on this one here, windows and doors three. And let's call that the small window or Windows. There we go. Let's select the three components that we have. Let's press M, and let's go to windows and doors and small windows, and there we go. So we can compress that file now, and we're keeping this really nice and neat. I'm liking that. All right, so the next thing we want to do is bring back the rest of the house because I don't think this window is in the right position yet. So let's bring back the house. So I'll hit the forward slash key on the numpad. And let's hide the roof. And let's press seven to see this from above. Let's go into wireframe for a moment, grab our window, deselect the house, and bring that over until it's kind of flush with the exterior side of the house. There we go. That's it. Let's go back to solid mode. And see how that looks. And that's looking good. I'm not sure if the normals are right on that. Let's have a quick check. So I'll come over here to overlays, and we'll put on face orientation, and know they're not now. So we'll select these items, not the walls, just the frame and the cases. And let's tap into Edit mode with them. Let's press A to select all. And let's press Alt N, and let's flip the normals on those. Let's tap out of Edit mode with that. I think this one here still is incorrect. Let's make sure that Face orientation is on. And that's done. That's all done. We're happy with that now. Okay, I'll turn Face orientation off, and that's correct, now. That's cool. Okay, so let's do a save, so let's press Controls. In the next lecture, let's go ahead and put some details on this window now. So let's put a sell board here on the internal bottom side of the wall here and let's have a look at putting some handles on a window as well, and maybe some seals between the window and the glass. Okay, thanks very much. I'll see you in the next lecture. Bye bye, Fino. 17. Lecture 16 Windows Part 2: Hello, and welcome now to Lecture 16. And in this lecture, let's see if we can finish off our window by putting some more details on it because it's kind of details that make things pop in rendering. So let's see what we can do. So I think, first of all, we need some handles on our window casements. So let's kind of start with that. So let's isolate our window. I don't think we need to see the walls and everything right now. So let's select the frame and the casements and let's hit the forward slash key on the numpad. Let's press Control three to see this from an orthographic. Okay, so now, let's go ahead and press Shift A, and let's bring in well, actually, first of all, in our outline and let's select small window subfile. Now let's do that again. Let's press Shift A, and let's bring in a cube so that that cube drops nicely into the correct file. All right, let's press S and scale that down. And let's bring that over. And let's work the left casement. So let's bring that in like that. Let's hit S and scale it down a little bit more too. About that, I would say is what I want. I'm going to go ahead and scale it up now in the Z. Help press S and Z and go and scale that too. I would say, I'd say that's about nice. That's about what I want. I'll move it up a tiny bit like that. And let's see what that looks like from the side. Let's bring that out on the X elevation. And let's scale it down slightly on the X. I'll press S&X. Just brewing it down to something like that. Now let's go ahead and take that back again until it's just about touching our window. And I'll scale it down a tiny bit more again. So I'll press S&X. And I would say that's about it. And I'll take that back till it's touching the other surface. There we go. That's cool. Something like that. Okay, so let's go ahead now and duplicate that object, so we'll select it. And let's press Shift D and press X and bring it out on the X elevation. And let's take you back now. So it's just about making contact with the other one. And now let's tap into Edit mode with that one. Make sure you got face selection on. Set this main face on the frontier, and let's bring that one out like this. Two, I would say about there like that. That's probably about right. Let's select edges now, so let's press two on our keyboards, select this edge here. Let's press Control R and bring a loop in and bring that to About there like that, I'd say. Let's press three now so we can select faces, grab this face here, and press E and bring that down on the Z axis like this. So about there. Let's have a look at that. Maybe take that up a little bit. And let's see. I think I'm happy with that. I think I'm good with that. Okay, let's tap out a edit mode for a moment, and let's look at the scale and the scales out on that one. So let's press Control A, and apply rotation and scale. And let's do the same with this one, Control A, and apply rotation and scale. Let's select both items now, and let's press Control J and join them into one. Okay, now what shall we do? Let's go back into Edit mode with it. And let's select just this bottom edge here, and let's bring that out a little bit, so we get a slight angle on this. And now let's go ahead and maybe take this edge up, so I'll press two, select this edge, and may bring this up a little bit to about there. And now I'm going to select this edge and this edge, and I'm going to press Control B, and I'm going to bevel that like this. And vertice wise, five segments. I think I'll leave that alone. I think I'll leave that just like that. Okay, let's do the same on the top now. Let's select this edge, this edge, and this edge. And this one, this one, and this one, and let's press Control B and bevel these edges, too, to get something like that. That's cool. And yeah, I think we're good with that. I'm going to leave that like that. So let's tap out of Edit mode with it. And let's go ahead and add a bevel modifier to it. So just hit the Luddle spanner, add modifier, generate and bevel. Okay, of course, that's way too much of a bevel. So let's start with two zeros to the right of the decimal point. And let's see what that looks like, and that's looking pretty good overall. I think what I do want to do is I'm going to go ahead and tap into Edit mode with it. And I'm going to select some faces. I'm going to press three. So I can select faces like this one here. I will hold down Control and go to there like that to get all of those. And I'm going to press S and Y. Go ahead and bring this in like this to get a slight bit more of a point. And yeah, that's nice. Okay, I'll tap out of Edit mode with it again now, and let's have a look at our bevel. So let's turn our one to three and see how that looks. And that's way too much. Let's go ahead and turn that into a two and see how that looks. Increase the segment count to maybe a five. And yeah, I think that's pretty good overall. We can go ahead and do a shade auto smooth on it as well, see how that looks. And I think, overall, that's looking pretty good. I'm going to bring the angle tolerance down on the shade Auto smooth. To It looks like about 11.2. And I'm not happy with that, so I'll go ahead and increase that again. And there at 18, I like that. That's fine. We'll leave it just like that. Okay, so I'll go ahead and apply these now, so I'll go ahead and apply the bevel modifier, and I'll leave the smoothing just there like that. Okay, so I think the next thing I want to do is maybe just scale it down a tiny bit, but I don't want to scale it down in the X. So let's press Control three to see this in the orthographic view. And let's press Shift X to exclude scaling in the X axis. And now let's bring this down a little bit, not up. Down to, I would say that small like it, something like that. That's better. Yeah, that's much better. I like that. So now that we've done that, let's press Control through again. Let's grab this and let's press Alt D and Y and go ahead and bring a copy across now to the opposite side like this. I'll bring it a bit closer to that edge there, and there we go. There's our handles in place. No. That's cool. Okay, so I think the next thing that I want to do is create another one of these sort of glazing seals just here, just as a little bit of detail. So I'll select this case, and we'll tap into Edit mode. I think I'm going to select I'm gonna press two so I can select edges, and I'm going to select this edge here. So I'll hold shift and select this one, and I'll le shift and select this one and I'll hole shift and select this one, W. I'll go ahead and press Shift D and X and bring a copy out like this. And now that we've done that, let's go ahead and press P and separate by selection. Okay, let's tap out of Edit mode. And let's rename this. And incidentally, sometimes you need to rename things when you extract a curve so that you can actually convert it. So that's another reason for doing this. So I'll double click on this and we'll call it the glass seal. There we go. Okay, so now that we've done that, let's go ahead and convert that to a curve. Let's go over here to object data properties and come down to Bevel, and in the depth, let's click that once. Let's set the origin to the geometry so we can actually move this back easily into position so we can see it and see what we need. And I would say that's a little too big right now, so I'm going to bring that down. So I'll put an extra zero in there to the right of the decimal point. And increase the one to a five, and let's see what that looks like. And yeah, that's pretty much what I want, I think. I don't need much. I just needed something there. Maybe I'll increase that to a seven and see how that looks, Lenter. And yeah, let's increase the resolution to maybe seven, as well. And let's have a look at that and see how it looks. Let's maybe take that in a tiny bit more. And there we go. I think I'm happy with that sort of like that. Okay, so now we've done that. Let's click on it again and then left click and let's convert that back to a mesh, and there we go. Now we can left click again and we can go ahead and sha Autosmooth. Alright. That's cool. That's what we want. So we can press Control three again now, and we can select this little seal, and we can press Alt D and Y and bring a copy across to this other casement here like this. And put this in position. I like that. That's cool. And, yeah, that's looking good. I'm pleased with that. All right. So now that we've done all that, and we've got everything in the right file here. If we turn this off, Yeah, we've got everything in the correct file. Let's hit the forward slash key to bring everything back. And let's put a sell board in here next. So let's go ahead and press Shift A, and let's bring in another cube. Let's go ahead and scale that down, so I'll hit S straightaway and bring that down like this. And let's bring this out on the X axis. And we'll bring this down until it's kind of touching the wall, something like that. And let's go ahead and tap into Eda mode with that. And let's press three so we can select faces, grab this face here and go ahead and bring that in until it's just about touching the window, but a tiny bit back, a really tiny bit. Something like that. That's cool. Let's select this front edge and bring that out a little bit. And let's select the top now, and bring that down quite a lot like this. To maybe up a little bit. That's about right. Okay, so let's tap out of Edit mode and let's press S and Y and go ahead and scale this up and a little bit more. S and Y and bring that now to about there like that. Okay, so now we've done that. Let's go ahead and put a boolean modifier on our little window board. So let's add a modifier and generate and boolean. And let's go ahead and grab our little dropper and put that onto the walls like that. And you can see that's worked. So we've got this sudden carto on this. So I'm going to go ahead and apply that boolean. And after we've done that, let's have a look at the scale and the scales out, so let's press Control A and apply rotation and scale. Let's tap into Edit mode and put a bevel on our window. So let's press two so we can select edges and grab this one, this one, this one, this one, and this one, this one, and this one. Let's go ahead and press Control B and bevel that, as well. Until we get Um, something like that. That's pretty good. Okay, so let's tap out of edit mode with that. And let's do a shade or too smooth, and let's bring the tolerance down a little bit. Two, maybe around 20. I think that should be good. Okay, so that's our window finished, and it's looking good. So I think the only thing left to do now is make a copy for the other side. So let's select all items to do with our window. So we've got the casements and we've got these little seals, and we've got this little seal, as well. And I think that's everything. So let's go ahead and press Shift D and X and bring a copy out like this. Let's go ahead and rotate that in the z axis now. So let's press Z, 90180, I'm sorry. Enter. And let's press seven to see this from above. And let's go ahead and take this over now and put this on the other side. Et's take that in until the sill board is tucked up nicely against the wall. So that is about there like that. Let's have a look at that. Zoom in a little bit. And maybe we'll just press G and X and take that in a tiny bit more. Whoops. Two about there, there we go. That's cool. So that's our two windows complete. So in the next lecture, let's go ahead and bring the roof back for a moment. I'll just compress our small windows file, and let's find our roofs. They're here. So in the next lecture, let's go ahead now and start our skylights. Let's have a go at those. We won't do as many details in those because they won't be seen much in our scene. So let's go ahead and do a save, so let's press Controls. And yeah, that's it for this lecture. So thanks very much. I'll see you in the next one. Bye bye, Fino. 18. Lecture 17 Roof Lights: Hello, and welcome now to Lecture 17. And in this lecture, let's go ahead and do our roof lights. And to be honest, I'm not gonna put a huge amount of detail on our roof lights I don't really plan to do any close up renders of our roof lights. So I'm going to keep the details pretty basic in these. But before we do that, there's something else I noticed, which is our bifolding door. The shade auto smooth on that doesn't seem to be working correctly at the moment on that. It's kind of curved the surfaces. So let's just bring our angle down to it seems to be on these windows and doors that 14-16 is the magic number. So let's try bringing it down there. And there we go. That's just work now at the 15 mark. Let's try zooming in on this and see what we get, make sure that the bevels are still looking good, and they are. So that's that's cool. Alright, then, so let's have a look at our roof lights. And really, I think all I need to make this work is one side of the roof. So I'll select that. I'll hit the forward slash on the numpad to get just the one side of the roof like that. There we go. Alright, so now, let's tap into edit mode with it. Make sure we got Edges selection, which we do. And let's grab this one, this one, this one, and this one. And let's go ahead and press Shift D and Z, and take that up like that. Soon as you've got that, let's press P, and let's separate it by selection. There we go. That's done. Let's tap out of Edo mode with that one. And I think actually, let's go ahead now, and let's create a new subfolder. So let's click on our walls, windows and doors, and let's hit our little add folder sign, and let's double click on this one. And let's call it the roof lights. And enter, and there we go. So we can actually select this item here now, and we could go ahead and put that into our roof lights file, there we go. So let's tap back into Edit mode with this one, and let's select all edges. And let's just go ahead and press F and fill. Okay, so that's cool. Let's press three and select this. And I kind of for a second, want the Gizmo to follow this panel. So come up here to this one to transformation orientation, hit the little drop down and just select normal on this. So the Gizmo is orientated to this panel. Once we've done that, let's get sort of to a nice angle on this. Let's go ahead and press I and let's inset this to create a framework for our panel, and there we go. Now let's press A to select O, and let's go ahead and press E and extrude this out in the Zadaxs like this. There we go. That's all we want. Let's select the middle panel there now and press E again and go ahead and take that up to create our glass panel. And let's go ahead and take this one down a little bit. So press E and take this down, and there we go. We've got our sort of our panel now for a moment. Okay, so let's tap out of Edit mode for a moment and maybe just select this on its own, now. And let's isolate that one. So we'll had the forward slash, which will bring everything back for a second, and just tap it again, and it'll be isolated, now. Okay, so what to do next? Let's tap back into Edit mode with it. And I think what we could do now is maybe select press edge selection, select these outer edges here. And let's go ahead and press S to scale and kind of scale those inwards to get an angle on that molding, on that framework around our glass, just as a little bit of a feature. Okay, let's select now this edge here. That one, that one, and that one. And let's go ahead and press Shift D and Z, and take that up like this. And let's press P and separate by selection. Okay, let's tap out of Edi mode, and let's select this. And we're going to do a nice little trick for creating sort of seals for glasses. So so that we can convert this into a curve, we need to rename it. It's a funny thing, blender. Sometimes you don't need to, sometimes you do, so I just always just rename it. So here it is. It's already selected in the outliner. Let's double click on it, and let's call it the roof like glass seal. Roof like glass seal, there we go. Let's grab it again and let's right click and let's go ahead and convert that to a curve. Let's click on ObjecttaPperti. Come down to Bevel, and let's click on the depth and see what we get. And that's probably okay. I'd say that probably will work. Let's increase the resolution to a six, and let's go ahead now and convert that back to a mesh. Let's go ahead and ahead and do a shade oro smooth on that. And let's select this item and press one to see this in the orthographic view now, and let's go ahead into wireframe. Let's go ahead and set the origin to the geometry so we can go ahead and see our gizmo. And let's pull that down now until we've got that lined up. It's this corner here that I want to be lined up with. So I'll pull that down some more, pull that over a bit, and I'd say, that's it there. Let's go back into solid mode and see how that looks. And, yeah, that's looking great. That's done. So now we've done that, let's go ahead and apply a bevel to our main sort of frame. So let's go over to modifiers. Add modifier, and generate and bevel. Okay, obviously, that's way too much, so let's go ahead and put our normal two zeros to the right of the decimal point and click Enter. Let's zoom in a little bit on this. And maybe let's convert that one into a three and see how that looks. And increase the segments two or three, and there we go. I think I'm happy with that. I'll go ahead and apply that bevel and modify it, and I'll do a shade oro smooth as well. There we go. That's cool. So the next thing we're going to do is go ahead and grab all of this, so we got it all selected. And I'm going to press one so we can see it from this angle, and I'm going to press set and go to wire frame. And I'm going to hit the forward slash key to bring back the roof. And I'll press one again to put it back in. So now let's go ahead and right click and set the origin to the geometry, and now pull this window down into position. Go ahead and just take a second to line it up where we want to. And I'd say that's good, just like that. That's looking good. So I'll press seven now to see this from above. And I'm going to go ahead and press Shift D and Y and bring a copy across now to here like this. And we can go ahead and put that in final position like this. There we go. That's cool. Alright, so now we need two on the opposite side. So let's actually mirror them over for that because that's a nice way of doing it. So for a minute now, let's go ahead and select the roof. And let's go ahead and tap into Edit mode with that. And let's select this top edge here. Maybe this one in the middle would be perfect. And with that selected, let's press Shift S, and let's bring the cursor to that. That's the center point of the roof, obviously. So that's where we want the cursor to be. We can actually here in the orientation, we can actually just click on this and bring this back to Global now. So let's go ahead and select our windows. So maybe let's go ahead and do it in a roof like fight, let's go ahead and select all these items here. And once we've done that, let's right click and let's set the origin to the three D cursor. Now that we've done that, we can go ahead and press Alt D, and let's right click twice. Let's go to mirror and mirror in the X axis. And there we go. That was a really easy way of setting two on the opposite side. All right, so let's go back into solid mode now and have a look at our handiwork. And I think that's I think that's it now for all our windows and doors. We're good to go on that. So I think we're making great progress with this course, actually. We've got our walls in position, and they're looking good. All windows and doors is set up, as well. Yeah, I think we're really looking good. So I think we'll start the next phase in the next lecture, which is going to be all trusses and beams and columns, which, again, would be a nice thing to add to the scene to really make it pop and give it some individuality. So I am actually seeing, I think, that that door, as well, has got the same issue as we had with that bifolding door. It's still a little bit rounded, so let's select it. And let's go ahead and bring that angle down and see when that flattens out. And there we go. It's just there at 15, same as the bi folding door. Let's zoom in and have a look at it. And, yeah, that's kind of the bevel is still looking fine on the door. Okay, so that's it. So on the next lecture, like I said, let's have a go at doing all our oak beams or make a start on that anyway. So this is coming on. We're making some great progress on this. I hope you're pleased with how it's going. So I think it's time for a cup of tea, and I'll see you in the next lecture. Thanks very much. Bye bye for now. 19. Lecture 18 Roof Beams Part 1: U Hello, and welcome now to Lecture 18. And in this lecture, let's have a go at doing all our roof trusses and all our sort of exposed roof structures. Let's have a go at making a start at those. We won't get it done in just one lecture. There'll be a few lectures on this. But I think it's quite a dramatic thing to do. It makes the kitchen really pop and gives it a sort of period feel. So yeah, let's give it a shot. So let's start by creating a new file. So let's click on Windows, walls, windows and doors, or should we make a new one? Let's make a new one. Let's click on scene collection, and let's hit the sub file. And let's call this roof structure. There we go. And let's highlight it so everything goes in it. And now that we've done that, I think, actually, let's go ahead and hide our roof, I think for now, let's see if we can hide that. And let's hide our roof lights as well. I don't think we need. Let's leave our roof flight sum. Sorry. I'm being indecisive. Let's leave our roof flights. So we need the cursor just where it is dead center of this roof, kind of running along the ridge line of our brickwork here on the points here on the gable ends. So we've got it just there. If it wasn't thing to do would bring back a roof panel like this and maybe grab this, tap into Edit mode, make sure you got faces selected, maybe select this one here, and then go ahead and press shifts and cursor to the selected. And if your cursor wasn't dead center, it is now having done that. Okay, let's tap out of Edit mode, and let's go ahead and hide that roof again. So let's start by bringing in a cube. Let's do that. Let me just click on my roof structure file again. Let's press Shift A and mesh, and let's bring in a cube. There we go. Let's press seven, so we see this from the top, the orthographic view. And I think we'll use our dimension box here. And in the Y axis, I'll double click on it, and I'll delete the two, and I'll type 0.15 Enter. And there we go. So we've made it 15 centimeters wide. Or should we make it a bit wider than that? It's looking a bit narrow, actually, at that. I think I'll make it 0.2. 0.2 and Enter, and there we go. In the z, I'm going to make it 0.3. 0.3. So that'll be 30 centimeters high. And let's press one now so we can see this from the front. And I think we could go into wireframe mode, and let's go ahead and tap into Edimde with it, and let's press one so we can select vertices. Let's press A to grab O and just bring the whole thing down like this for a moment and just run it level with that line just there. So that it's level with that point in the roof just there. That's where we're trying to get it. Okay, now let's grab these vertices here and bring these over like this and bring them over a little bit more until they're just touching the wall. That's perfect. Let's do the same the other side now. Let's grab these and bring these over and bring these level with the wall, this side. There we go. That's what we want. Let's tap out of Ed mode with that now. And with that done, let's press let's right click and let's go ahead and set the origin to the geometry. Let's press ChiefD with it selected and press Z and bring a copy up like this. Let's rotate that And I want it to run sort of parallel with the roof line. So I'll bring it up a little bit, and I'll go ahead and rotate it until it's just nice and sort of parallel with the roof. There we go. That's nice. Okay, so I think the next thing I'm going to do is I'm going to go ahead and click on orientation and go to the normals and then bring the whole thing down like this. That's cool. That's what I. All right. Now that we've done that, let's go back to solid mode now for a moment. Excuse me. We need to put a cut there. So I think what I'm going to do is just cheat. I'm going to grab this one, and I'm going to press Shifty and Y and make a temporary copy. I'm just going to scale this up in the Y axis. I'm going to press SY and just go ahead and scale this up and then put it back like this. I think I'll scale up slightly in the X, as well, so SX and bring it up like this. Okay, now we've done that, let's grab this one, and let's fix it. So let's press Control A, and apply rotation and scale because that was a little bit wrong. And let's now select it again, and we'll add modifier and generate and boolean. Grab our little eyedropper and just select this item like this. And there we go. That's done. So let's go ahead and apply that. Can we delete this? I think we can delete it. I'll just go ahead and get rid of that. Okay, so we have this little piece here now like this, so let's tap into Edit mode. And let's press three, so we can select faces, grab this one like this. Hold down the Control Putton and press Plus until we've selected all faces, and press X and go ahead and delete faces. There we go. So we've got rid of that little piece. Okay, let's go ahead and tap out of Edit mode for a moment again now. Okay, so now let's do the top one. So our cursor is still exactly where I want it. So let's go ahead and press Chef A and mesh and bring in a plane. And now let's rotate it on the Y axis. So our Y, nine, zero, enter. And what we do now is go back to the boolean thing. So let's grab this one here like this. Add modify, generate, and boolean. Let's grab our little eyedropper and just hit the plane like this. And there we go. Let's go ahead and apply that one. Let's delete this plane. We're done with that. Now we've got this trust done. Okay, so let's look at this one and the scale and rotations good. Let's go ahead and apply a bevel to this sn, add a modifier, generate, and bevel. Let's add two zeros to the right of the decimal point, and let's have a look at it. And I want a bigger bevel than this, so let's go ahead and add or delete the one and put a three in its place. And there we go. And let's add maybe put three segments on it. That's cool. So I'll go ahead and apply that bevel now. And let's have a look at this one here, and we can fix the scale on this. Let's press Control. And apply rotation and scale, Let's add a modifier again and bevel, let's add two zeros to the right of the decimal point and turn the one into a three. Enter, and there we go. Make sure we've got three segments and go ahead and apply that one. There we go. That's cool. Okay, so I think next what we need to do is go ahead and duplicate and mirror this one here. So with it selected, let's right click and put the origin where the cursor is to make that the pivot point. So let's right click and set origins to the three D cursor. And now it'll pivot at the point of the cursor. So let's grab this. Let's press Shift D. Right click twice. Mirror in the X axis, and there we go. We've got our truss finished, and that's cool. So let's go ahead and duplicate this trust now. So'll grab those three items. Let's press seven. See this from above. And let's go ahead now and press Shift and Y and bring a copy now over to the end here like this. Let's bring that over till it's just about touching the wall. It'll be a tiny little gap. There we go. That's what I want. And let's do the same again. Now we'll grab this one, this one, this one, and we'll press seven, and we'll press Shift D, and Y and bring a copy over now to here like this. Let's bring this back until it's just about again touching the wall. Tiny little gap between them, maybe, something like that. Alright, so I think the next thing to do is I want to bring a timber along the walls here, along the internal edge of the walls here to break up the line between the ceiling and the wall. So let's do that next. So let's go back DursPress seven on the number pad to get the orthographic view. Let's press Shift A and mesh, and let's bring in a cube. Let's bring that cube over like this. And let's press Z and go into wireframe. And let's hit S and scale this down like this. Maybe scale it down a little bit more to something like that. Then bring this over until it's just about off the wall, just a little bit like this, bring it over this way until it's just about flash with the other bean. And let's go ahead and tap into Edit mode. Let's press one now so we can see it from the side. And oh, it's up here still. Let's bring it down. Until it's kind of level with this beam here like this. That's about right. I want it slightly under to create a subtle shadow to the ceiling. So that's about right. And now let's press one so we can select vertices, grab this one here. Let's put our orientation back in global and now bring this one down until it's about there like that. That's cool. Let's press seven again. Let's grab these vertices here and take these to the opposite side. Let's go ahead and bring those now, so they're just about touching the other one. And I'll leave a little gap. This is supposed to be an old building, so I don't want absolutely everything touching perfectly with these old trusses. I want to have a little bit of imperfection to them because I think that'll add to the realism. So now that we've done that, let's tap out of Eddy mode, and let's go back to solid for a minute. Let's have a look at the scale of that and the scales off. So let's press Control A and apply rotation and scale. And let's go ahead now and apply a bevel to that. And let's add two zeros to the right to the decimal point. And let's go ahead and turn our one into a three. And click Enter. And let's go ahead and make three segments on it. Zoom in, have a quick look. And do I want to bring that down slightly? I think I probably do. I'll go ahead and set the origin now back to the geometry, and it looks to me like I just need to bring it down just a smidge maybe to there, and there we go. That's what I want. So let's go ahead and apply that now. And now let's press seven. Let's grab this one, and let's press Shift D and Y and bring a copy back like this. Let's pull this over on the Y axis, and let's press G and Y and pull it back that last little bit like that. Let's go back to wireframe, and let's tap into Edi mode with it, grab our vertices here on the end and go ahead and pull those back into position. Something like that. That's it. Okay, so let's tap out of AD mode with that. Let's select both these objects now. And let's go ahead and right click and set the origin to the three Dcursor and let's go ahead and press Shift D. So because they've gone white, that tells us that there's a duplicated object there. Let's right click and let's go ahead and mirror in the X axis, and there we go. Okay, let's go back to solid mode now. And there we go. So we've got our trusses in place, and we've got our little beams here in the corners of our roof. So that's a really good start. Okay, so in the next lecture, let's have a go at doing our columns. So I want to add two columns and maybe even some columns in the corner as well on this truss. And that'll add a nice little feature and just add to the realism of everything. But before we go, let's go ahead and do a save. I nearly forgot. So let's press Controls and go ahead and save our progress. And thanks, and I'll see you in the next lecture. Bye bye, Fino. 20. Lecture 19 Roof Beams Part 2: Hello, and welcome now to Lecture 19. In this lecture, let's go ahead and do our columns, which will support our middle truss here. I think we'll put four on. We'll put two in the middle here and we'll put one at either end. Let's see what we can do with that. Let's press seven to get this in the orthographic plan view. Make sure roof structure is selected, let's press Shift A, and let's bring in a cube. In the X and the Y, let's go ahead and make this. What should we make this? Maybe 40 centimeters, hover over the X, hold down the left mouse button, and drag down to the second one like this and go ahead and delete what's there and put 0.4. That will be 40 centimeters in the X and the Y. And there we go. So that's sort of the size of our columns. Okay, let's press one to go into the front view now. And let's go into wireframe mode for a minute. And let's go ahead and bring this one down now until it's sitting on the floor like that. Let's tap into Edit mode. Grab our top vertices here, and I'm going to take those so they're almost to the top of this beam, a tiny bit below. To about there should do it. Okay, so now that we've done that, let's go ahead and go back into solid mode, and let's have a look at it. And we can tap out of Edit mode for a moment. And I think the next thing to do is let's go ahead and add some extra loops to this. So let's tap back into Edit mode. Make sure we got edge selection on, grab an edge, press Control R, and roll the mouse. Wh to get two loops in and then go ahead and press S and Z and take those up and down until we get something like this. There we go. Now that we've done that, we can select this edge again and we can press Control R, roll the mouse wheel to get two, click twice, and press S and Z, and go ahead and take those as well till we get them about there, I'd say like that. Okay, now that we've done that, let's type out of Edit mode and hit the forward slash key on the numpad to isolate this. And maybe we've fixed this. Let's press Control A and fix the rotation and scale. Let's tap back into Edit mode now, select this edge here and press Control R, and roll the mousewheel until we get three loops like that. There we go. That's cool. Let's do the same on this side now. We'll press Control R, and we'll get three loops like this. That's cool. Let's press seven now so we see this from above. And let's press and let's go into wireframe. Let's press three on the keyboard so we can select faces. Select half of the faces to one side of the Y axis like that. Press X and go ahead and delete the faces. Now, that may have seemed a little odd thing to do. Let's go back into solid mode, but I want to show you a different modifier now, and this is a perfect opportunity for it. It's called the mirror modifier. And that means whatever we do on this side now, blender will duplicate on the other. So by doing that, it's going to save us some time and make sure that we model accurately. So let's go ahead and tap back into Edit mode for a moment with it. And let's press one, select that little vertices there. Press shifts, and let's put the cursor right there. There we go. We can tap out of Edit mode now, select it, right click and set the origin to the cursor. Now that we've done that, so the origins in the right place and the curse is in the right place, let's select the item, add modifier, generate, and mirror modifier. There we go. And that's worked out really well. So the X axis is the axis that we wanted to mirror in. However, if it was in the Z, it would have done something like this for us. If we turn off the X, then it would have just duplicated or mirrored in the Z axis. If we have it on the X, then it would duplicate in the X axis and the Z axis, which is basically made it twice the height. In this case, all we want to do is just mirror it in the X axis. Make sure that clipping is turned on so that it joins in the middle where it mirrors. And let's go ahead now and tap back into edit mode. And you can see that half of the mesh is missing, and that represents the side that is mirrored. All right. The next thing we want to do is press three so we can select faces. Select this one, this one, this one, this one, and this one and this one, and also one, this one, this one, this one, this one and this one, and press X and go ahead and delete faces. You can see the mirror modifier has done that the same for us on the opposite side. Okay, let's press one so we can select vertices now, select this one and this one and press F and fill that. Do the same, press F and fill, and do the same here and press F and fill. Let's do the same here now, grab this one and this one and press F and fill, and this one and this one and press F, and this one and this one and press F. And there we go. So it's happening on the other side, just the same. Let's do the same on the bottom now, then. Let's select this one and this one and press F. And select this one and press F. And now here and here. And last one. I'll select this one and this one and press F. And now select this one and this one. And here, let's press F again on that. Let's press two so we can select edges and select, this one and this one, and press F again to fill that. Now select these and press F. Now select these. And press F. There we go. It should be if we select this edge here now, we'll see if Blender can do a little magic trick. We'll press F, and, yeah, it's filled it to there for us, at least, and it doesn't know quite what to do. So let's go ahead and finish this. And this one here now, and we'll press F on that. We'll press F. And this one. And let's see if Blender can fill this itself. Let's have a go. And let's have a look, and it's just left those two for us to do there. Talk, this one, this one, and we'll press F on that. And do this one here now. Press F on that. Okay, so there's our column kind of done. So let's press one, and let's just make this a little less regular because it's supposed to be like an old hand milled sort of column. So it's not going to look perfect. So let's tweak this around a little bit. So I'll pull this like this, maybe pull this down to adjust the angle, and maybe pull this one over so that the bevel isn't perfectly symmetrical, and there we go. And let's do something with this one. Now maybe with this one, I'll pull this up like this. And maybe let's go ahead and grab this one now and just pull this one over slightly like this. And there we go. That's all I want to do. And let's do the same up here now. So I'll grab this one here and take this up and maybe take it over slightly on the Y axis like that. Maybe bring this one down just a touch. We'll do the same here now. I'll take this one up. And we'll go ahead and take this one down a little bit like that, that's fine. Okay, so let's tap out of Edi mode with this one now. And let's go ahead and apply our mirror modifier. And let's check the scale, and that's all good. So let's add a bevel modified. No, sorry. I'm getting ahead of myself. Let's now apply a Boolean modifier to it. So let's bring back the other item, so I'll hit the forward slash scale and unpad. I got ahead of myself then for a second. Okay, so let's grab a little column here, add modifier, generate and boolean, grab the little eyedropper and just click on the truss like this. And there we go. That's worked. Can see that that's notched out now, so let's go ahead and apply that. There we go. Now we can apply a bevel modifier. So add modify, generate, and bevel. So let's try increasing the zeros to the right at the decimal point. And not much is happening. Not much is happening because The geometry of this column is limiting the amount the blender can bevel. So let's see what we can do to tweak this. So what I'm going to do, first of all, take this back to the standard settings. So let's delete those two zeros to the right of the decimal point, and let's increase the segments to three. That we know we can do. And let's see if we can alter the way the blender is going to lay down the bevel. So first of all, let's make sure that angle is applied here. And let's go down to geometry and turn off clamp overlay. Let's go ahead now and put our two zeros back just so we can see what's going on. And let's turn out 12 or three. Click Enter and see what we're getting. And yeah, that's working. You have to be careful when you do this clamp overlay, though. Let's just tap into Emo this on this and kind of inspect our geometry and make sure it's okay because what can happen is blender can now duplicate faces or make irregular geometry. And it can create some strange results sometimes. So just check that there's no issues with the geometry, and everything looks fine. The other thing we can do is we can actually go into shading now and we can harden the normals, which should soften those edges for us. And now that we've done that, we can tap out of eddy mode and we can go ahead and apply that. Let's just take a look and see if that's worked for us, and, yeah, that's worked fine. Let's just take a look at the geometry and make sure there's no strange things going on with the geometry. Make sure that there's no additional faces that have been strangely created. But everything seems normal and everything's working just fine. So yeah, if you find the geometry find that the bevel sorry doesn't seem to work properly on an object, it's because the geometry of the object is limiting the amount of bevel that can be applied. So by turning off the clamp overlays, that helps de restrict the bevels, but be careful with it because it can create some sort of strange results. But in this case, it seems to be fine. Okay, I'll tap out I edit mode on that one and take a look at a column and see how it looks, and it all looks good to me. So let's press seven. And let's go into wireframe for a moment. And let's move this one over. And I think I'm going to put it around midpoint of our skylights, maybe back a little bit off midpoint about there. And I'm just going to position these by hand. So I'm going to press Alt D and X and bring one over now to here like this. And I'll grab this one again now, and I'll press Alt D and X and bring another one over like this and position this one just kind of by eye, really. Press Alt D and X again and bring the final one over to here now like this. Let's come in on this and see where this is kind of landing. And again, just have this a tiny bit off the wall to have a slight shadow detail. And let's check this one. And this one just wants to bring it over a tiny bit to like that. Okay, so let's go back to solid mode now and see how that's looking. And yeah, they're looking grand. I think that's just what I wanted on those. They'll definitely have some presents in the room when they're sort of rendered up. I think they'll look really good. Okay, so let's go ahead and do a save now, so let's press Controls. And in the next lecture, where should we Oh, well, let's do the chimney breast in our next lecture. We'll do that. And we'll start looking possibly at our cabinets. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, Fino. 21. Lecture 20 The Chimney: Hello, and welcome now to Lecture 20. And in this lecture, let's go ahead and put a sort of brick chimney in. This should be quite a quick lecture, really. This is, I think, quite a simple process, this one. Okay, so let's see what we can do. So I think first thing we do need to do is I think we can go ahead and hide our roof structure for a while, and maybe we open up our walls and we can hide our roof lights. I think that's all we really need is just that. We could even hide our windows if we wanted to, windows, side doors, bifolding doors. So we just have back down to just the brick wall again. All right, so let's compress that file, and let's open up the reference file, and we'll go ahead and unhide it. And yeah, I think as I'm seeing it now is how I kind of want it. So I want the front section elevation on, and I want the plan. The planned section elevation on as well. And I think that should be enough for us to be able to make this work. Okay, so I think the first thing we can do is go ahead and bring a cube in. So let's press Shift A and mesh and bring a cube in. Okay, I think we can go as wireframe. Let's press and go into wireframe for a while. And let's press seven to see this from above. And let's start off by setting this out. So we can see the outline of the chimney here, so that's what we're going to try and get this object to look like. So let's tap into Edit mode with it, and let's select these two front vertices now. And let's go ahead and move those back until they're lining up nicely with the walls like that. Let's select these two now and bring these over as well. Grab these two and bring these over as well. Okay, let's press one now on the num pad to get the front view. And let's go ahead and pull the lower vertices down to the floor level. Something like that. And let's grab the upper vertices and take those up. Of course, they won't be seen up here, so we're not worried, really. We can put those pretty much wherever we want, as long as they're the other side of the roof on the exterior side. Okay, next thing we want to do is let's have a look at this, actually. Okay, so the next thing we want to do is put some loops on this, some control loops. So let's press two on our keyboard so we can select fake edges, select this edge here, press one on the numpad to be able to see this from the front and press Control R and put a loop in like this. Roll the mouse wheel once to get two. And now let's go ahead and scale this up in the X axis until we get them lining up with this edge and this edge. So I'll press S and X and go ahead and bring these out something like this. I'll just move these over manually, just a tiny bit and line them through like that. There we go. Now let's select an edge right here now, and let's press Control. Ah. And let's put one loop in and bring that down now to About there like that, I would say should work. I want to go about half and half because we've got like this hood in here. It's like an extractor hood above our oven. So I want to put it somewhere in the middle, and then the extractor hood will sort of cover up anything else. Okay, so once we got that, let's press and go back to solid mode for a while. Okay, so the next thing I want to do is take this face here backwards. Extrude that back, so I'll press three so I can select faces, grab this face here, and I'll press Alt E, and I'll extrude manifold and then go ahead and take this back like this. Maybe take this back to about that I'm not overly worried too much. I want to gap behind. We're going to put a mirror on that wall eventually. But I'll just kind of leave it about there. That should be good, just like. Okay, so let's tap out of edit mode with that now. And let's look at the scale. Scales all correct because we did all our sizing in edit mode. So because we did that, none of the scales are incorrect. All right, so let's add a modifier to this and put a bevel on it. Add modifier and generate bevel, and let's take a look at this. Let's go ahead and put two zeros to the right to add more point like Enter. Let's have a look at that and maybe turn one to four and enter, and of course, increase our segments to about four as well. And, yeah, I shall leave that bevel modifier on there for now, in case we decide we want to increase that bevel. Okay, so that's our chimibast done. We can go ahead and bring stuff back now. So let's go ahead and turn our roof structure back on, and we can see how that's looking now. That's looking really good. Okay, so that's our chimney done. So the next thing we want to do is cut our roof out around this chimney. So let's go ahead and bring our roof back. So let's expand our walls and windows and turn on our two roof panels. Select our roof panel, add, modify, generate and boolean, grab our little dropper, and just click on the chimney like this. And that's good. So I'll go ahead and apply that. Do the same on the opposite side. We'll grab this one, add modify, generate and boolean, and grab our little dropper and go ahead and just click on the chimney and go ahead and apply that. It's a good practice whenever possible to actually cut things out. Don't allow objects to fly into other objects if you can help it because you can see that in the rendering, even though it's way up there in the roof space, and we probably won't do a video or still showing this angle, it's still good practice to do it. So that's why in this case, I've done. Okay, so that's our chimney done. We can go ahead and bring back other stuff we wanted. We can bring back our windows and our roof lights, side doors, bifolding doors, and our roof structure. Let's go back into our house now and have a look at it into our kitchen and see how it's looking. And that's looking good. I think now we're really ready now to start putting in our kitchen. Okay, so in the next lecture, let's start doing our kitchen island in the middle. I think that'll be a good place to start. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 22. Lecture 21 Island part 1: Hello, and welcome now to lecture. Which lecture is this now? 21. Welcome to Lecture 21. And this lecture, let's start our kitchen cabinets. That's what we're sort of here to do, isn't it? To build our kitchen cabinets. That's kind of exciting. So let's make a start with that. And I think we're going to start with our kitchen island. I think that's a good place to start. But before we do that, let's select this cube here and let's go ahead and name it. I forgot to do that in the last lecture, so let's double click on it. And let's call that the chimney. There we go. Let's go ahead and just drag that into the walls and windows subfolder straight into there like that. Alright, that's cool. Now we can go ahead and close that file. And I think the next thing we're going to do is create all new file for our kitchen cabinets. So let's click on scene collection, and let's now create a subfolder. Let's double click on it, and let's call this cabinets. There we go. I think within that straightaway, I'm going to create another subfolder. I'll click on our little Add folder icon, and I'll double click on this one, and I'll name this island. There we go. Let's leave the island selected so that everything we create now goes into that subfolder. Let's go ahead and hide our other two folders right now, so our walls and windows and even our roof structure. Now we've just got these two reference drawings left now, these two reference plans. Again, that's all I want now for this stage. Alright, so let's make a start. So I think the first thing we can do is go ahead and press seven, so we see this from above. And this is our first reference here, and we got some numbers on this one, even. So it's 2.4 meters long. This is our island by 1.2 meters. And we have this little feature on the island, which is like a circular little table to the side, and we'll do that after. Let's not worry about that bit just now. So we'll just look at this rectangular shape just here. So let's go ahead and press Shift A and bring in a cube, so Shift A, mesh and cube. There we go. Let's go into wireframe. I'll press S and go into wireframe. And let's just use our transform boar note actually to dimension this thing. So in the X, we want to make it 2.4 meters. Double click on the X, and let's make it 2-4, and go ahead and enter on that. And there we go. So now it's 2.4 meters that way. So in the Y, we want to make it 1.2. So let's double click on the Y, delete the two and click one, 0.2, and Enter, and there we go. So now we know that we have that exactly the right size. Let's go ahead and bring that over now, so it actually sits where it's supposed to sit. And there we go just like that. It says something like this island, the position, don't worry about the fact that when you zoom in, you sort of lose the definition of the line. For the purposes, that's absolutely fine. What we're seeing just like that. Let's press one now on our numpad, so we see this from the front. And it's always a shock to me when you suddenly realize that what you've drawn is actually miles up in the air and not where you thought it was at all. But that's right. Don't worry, we'll fix it. Just waffling for a moment. Okay, so on the z axis, I kind of think that this kitchen top will be about 4 centimeters, about 40 mil thick. That's typical thickness, particularly for marble. So let's do that next. So on the Z axis, let's double click on this and make this 0.04. So that is 4 centimeters or 40 mil thick and click enter, and there we go. So now we have our worktop the exact thickness. Let's bring that down. Let's zoom in a little bit, and I'm just going to hold down the shift bar and hold down the middle mouse wheel and reposition. There we go. And I'll bring that down until we're happy. Zoom out a little bit. If you zoom in too far, you kind of lose it. So about there tells me what I want to know. And I'll put that just about there like that. That's fine. Alright, so that's our top end now. So the next thing we can bring in, let's go ahead now and bring our cursor to this object. So let's press Shift S and cursor to the selected. There we go. So let's now work on the legs next, I think. So let's go ahead and press Shift A. And let's go ahead and bring in another cube. Again, we can dimension this with our transform tab. I think that these legs are about 80 millimeters. So in the X and the Y, just hold down the left mouse button on the X and drag down to the Y, and now go ahead and put 0.08 enter, and that's 80 centimeters. Let's press one on the numpad so we can see this from the front. And let's go ahead and bring this over and just check this out. See how that looks. Do I want to increase that a tiny little bit? I think I am. I'm going to increase that to 9 centimeters, I think. So again, I'll just hold down the left mouse button in the X, drag down to the Y like this, and I'll go ahead and turn that eight into a nine and click Enter, and there we go. Okay, let's tap into Edit mode with it now. Let's press one so we can select vertices. Let's have a look at the bottom first. So we can see the floor level. The floor level is right there on that X axis going across, so we know where it is. So let's go ahead and grab these vertices here. And it's a good thing to not have absolutely everything touching other surfaces. Because it'll add to the realism because it allowed very subtle little shadows to everything, which just adds to the realism. If everything is just sitting absolutely perfect with the other surface, it just doesn't look right. So just have a tiny little gap, and I'm talking really tiny, something like that is all I really want, just a tiny little gap. And let's do the same at the top, because if you had too much of a gap, it would look like a poor kitchen cabinet, wouldn't it? It looked like, you know, like it was a pretty poor affair. So you need something in between. So a tiny little gap to add some realism, but not so much that it looks like it's just a bad kitchen. And we'll put that about there like that. That's perfect. Okay, so let's press one now so we can see this from above. And for a moment, I'm just going to go ahead and tap out of Edit mode, and I'm going to go ahead and bring this over now and put this about there like that. That's cool. Let's zoom in on this and have a look. We've got two grid squares here and we've got approximately two grid squares here. Now I know that's reasonably evenly set between these two faces. Okay, so the next thing we can go ahead and do now is add a bevel to this. Let's go back to solid mode for a moment. Let's do that. And let's go ahead and check the scale, and it's out. So let's press Control A, and apply rotation and scale. Let's add our bevel modifier. And let's go ahead and add two zeros to the right of the decimal point, click Enter, and let's see what we got. And let's turn that one into a two and see what that looks like. Increase our segments to three. And do I want to go to a three now? Let's try it. So let's turn that two into a three. Click Enter. And yes, I will leave that like that. So we got three segments and 0.003 millimeters. I'll go ahead and apply. After we've done that, we're going to go ahead and go back to wireframe for a moment. Let's press seven so we can see this from above. Let's select the item, right click and set the origin to the three Dcursor because we're going to do some mirroring. Now that we've done that, let's go ahead and press Alt D, right click twice, and go ahead and mirror in the X axis. Let's select both of these now. And let's go ahead and press Alt D again and right click twice and go ahead and mirror it in the Y axis. And there we go. We've got our legs in place. Just looks like a very simple little table. Let's go back to solid for a moment so we can see that. And that's. Alright, so the next thing I want to do is I want to put the little board that you see at the bottom of the island there. It's just this one here. I call that the plinth, so I want to put the pnth in next on this. So let's go ahead and press Chef A, and let's bring in another cube. And obviously, that's a bit big, but that's alright. Let's press one so we can see this from the front. And let's go back into wireframe for a moment, and let's tap into Edi moode. We'll grab these ones here and we'll pull these down now like this. Let's zoom in and see what we're doing. And now I think that's right. Zoom in a little bit, and let's press G and Z. Just take that up a tiny bit now to about there like that. Let's grab the bottom once. And let's press G and Z again and go ahead and take those up. And again, just make it a tiny bit above the floor level. Just that much is just fine. Let's grab the ends here now. And let's go ahead and take that over. And again, just leave a tiny gap between them just something like that, and we'll do the same on the other side. To something like that. There we go. Let's press seven, and we can see this from above. Let's grab these vertices here first, and we'll take these back because I want the plinth to be set back from the legs, so I'll put that about there like that, maybe maybe forward, a tiny bit, maybe about there. Let's grab these other two vertices now and bring those back like this. And we'll put those about there like that. That's cool. All right, so let's tap out of edit mode with that for a moment. And let's look at the scale and the scales all good. Let's go back to solid mode for it. Let's apply a bevel to it. And let's do our standard adding two zeros to the right of the decimal point. Click Enter, and let's up one, two or two and see how that looks. And let's increase our segments two or three. And yeah, that's fine. So have a look there on the end, see that looks, and yeah, I'll leave that just like that. So we can go ahead and apply that bevel. And now let's go ahead and make sure. Well, actually, in this case, it is. The origin is already in the cursor, so we're good to go here. So let's go ahead and press Alt D. Right click twice, and mirror it in the X axes. I'm sorry that was wrong. I'll right click again, and I'll mirror it in the Y axes and there Okay, so now let's make some for the sides. So this time, I'm going to press Shifty because if I bring one to the end here and I have to scale it, it's going to affect this other one. So I'll press Shift and Y and bring that back to the middle like this. Let's go ahead and set the origin to the object for a moment to the geometry. There we go. And let's rotate that. So let's press R and Z, and 90, Enter. Alright, let's see this from above now. So I'll press seven on the numpad. And let's go into wire frame, and let's take this over. Till we've got that imposition as we want it, so that's about the, I'd say, like, about there is good. Let's tap into Ed mode with it, grab these vertices and take those back. And put those about about well, pretty darn close, really? A there like that. And we can do the same here and bring those over, and let's have a look at this. And about there like that. That's cool. Okay, let's go ahead and have a vote mode with that now. And let's go ahead and set the origin to the cursor. So right click, set the origin to the three D cursor, and let's press Alt D and right click twice and go ahead and mirror in the X axis. And there we go. Okay. So let's press and go back to solid mode now and see how we're doing. Have we applied a bevel to our top? We haven't. Let's do that next. Let's select the top, and let's fix it. Let's press Control A and apply rotation and scale. Let's add our bevel modifier to this. And let's add two zeros, and let's have a good look at the top. So let's increase our one to a two. And let's go ahead and increase our segments two or three, and I think that's fine. Let's maybe up our segments to four because it's the top. And I think I'm going to leave that bevel modifier there for a moment. So if I change my mind and I want to apply more of a bevel or less of a bevel, I can still do it. That's the benefit of these modifiers is they're non destructive. If you don't want to apply them at any stage, you can always leave it so you can make changes. Alright, so now that we've done that. Actually, I think we'll call it a day at this lecture. I was gonna carry on and do these end panels, but I think we'll leave that for the next lecture. Otherwise, it's just going to get a little bit too long. Alright, I think that's some good progress. I think we're doing just fine here. So let's go ahead and press Controls and do a save on that. And yeah, there we go. There's our island. We're about halfway through. Okay, thanks very much. And I'll see you in the next one. Bye bye for. 23. Lecture 22 Island Part 2: Hello, and welcome now to Lecture 22. And in this lecture, I was gonna do the panels, but I've kind of changed my mind. I think it'd be cool to do these face panels here with the two doors and the drawers. I think that would be really a nice thing to do. So let's go ahead and do that next, and it'll make our little island pop a little bit. So what do we do? Let's press one on a numpad to get the front view. And let's bring in a plane Shift A and mesh and plane. There we go. Let's rotate that on the X axis. Let's press RX 90 enter, and let's go ahead into wireframe. Let's press one. Oh, sorry, let's tap into Eda moode let's grab the vertices here, the top two, and bring those down now. Until you guessed it, they're just a tiny bit below our worktop. And let's get close to it so we can have a good look and about the tiny little gap, maybe even close up a bit more than that. There we go. That's cool. Let's do the sides in the same way, so I'll grab these two now. And we'll bring these over, and let's zoom in on this so we can see it. And yes, bring that really close to the line like that. Do the same on the other side. Bring this over. Lost my edge. There it is then. And bring that. So it's just a tiny bit off like this. There we go. Let's do the same on the bottom. Let's bring the bottom up now. And here's the line of our plinth, and I just want to be ever so slightly below it. By about that much. That should be fine. Roughly on that. It's okay. Alright, so that's cool. So now we've got our plane. Let's go ahead now and go back into solid mode for a while. And I think what I want to do now is go ahead and hide the rest. So I'll tap out of Edit mode for a moment. Select that plane. Come down to our island list here on our outliner, and we can see the plane. That's the one that's highlighted here. I'll show you another little trick. If you hold down the left mouse button on our little eyeballs and just drag it down everything. There we go. So now we just have our plane. Let's go back to one so we can see this nicely. And let's go ahead and go into wireframe mode. Press let's tap into edit mode. Let's press two so we can select edges. Let's select this top edge here, and let's press Control R, and let's roll the mouse wheel to get two edges like this. Let's go ahead and scale those up in the X axis, or press S&X and go and scale those up until they're about center with our rails, with our vertical rails. They roughly. We're not going to be exact. That's fine. Okay, once you've done that, we can press three so we can select faces. Wrap this face, this face, and this face. And now let's go ahead and press I and inset and inset them till we get something like this. But don't tap again. Once we've done that, we realize that we've still they're joined here, and we want these to be individual. So go down to the individual tab here in your inset faces and click on that. And now we've got some nice even gaps throughout. But these gaps in the middle are a little bit too wide. They're double the width of here, so that's not ideal. So I think we'll just tweak that manually. So I think the first thing I'll do is I'll press two so I can select edges, and I'll grab this edge here, and I'll grab maybe this edge here, and I'll go ahead and just take those over a little bit like this. And I'll grab this one, hold shift, and grab this one and take those back in the opposite direction just to manually narrow that up a little bit like that. There we go. That's cool. Now I want to put some loops in on the horizontal, so I'll make sure I'm an edge selection. I'll select this edge here, and I'll press Control R, and I'll roll at mouse wheel once to get two edges like this. Let's go ahead and position those now. So I'll just move those up a little bit. And this bottom one is now midway between those two drawers, so that's okay. So I'll deselect, and I'll hold Alt, and I'll select this one like this. And I'll just move this one up until it's kind of midway on this rail here. And that's cool. Once you've done that, we can delete some of this. I'll grab this one whole shift, and grab this one, this one, this one, this one, not that one. Sorry. Lose that one. This one, this one, this one, this one, this one, this one. This one, this one, that one, that one. Okay. We got through them. Once we selected all of those, right click and go ahead and dissolve those edges. Okay, so that's cool. So the next thing I want to do is go ahead and press three now so we can select faces and select this face here, hold shift, and select this one and this one. And also this one and this one, zoom in a little bit, and now go ahead and press I and inset, and go ahead and create a gap between our doors and drawers and our main frame like that. That's cool. That's just fine. It has actually created a slightly wider gap between these draws here, which is the same kind of issue that we encountered with these vertical rails here. So I think we'll just manually deal with that. So we'll press two so we can select edges, and we'll select maybe this one and this one. And we'll go ahead and scale those down the z. So I'll press S and Z and go ahead and bring those down just to reduce that gap. So it's similar to the rest of the gaps, and there we go. And now we'll select this one and this one, and we'll press S and Z and go ahead and bring that down, as well. So we've got about a similar gap to the rest of the gaps. And that's. All right. That's looking good. That's looking great. So I think the next thing we need to do is create these kind of recesses in the middle of these. So let's do that next. So let's press one again to get us that nice orthographic view. And let's press three so we can select faces, we'll grab this one and this one, and I'll go ahead and press I again, and we'll inset these to get those inset faces on our drawers, and that's about nice for me just like that. Now we can select this one and this one, and we can press I again and go ahead and inset those. And just judge that. And I would say, that's about right like that. Okay, that's all cool. Okay, let's go back to solid mode now for a while and see how we're doing, and it's all looking pretty good, actually. I think the next thing you want to do is go ahead and delete the set of edges here. So I think we'll do that next. Sorry, these set of faces. So if you go ahead and hold Alt and just go to this little corner here and click on it. I'll select that entire loop of faces, hold Shift and Alt and repeat that process and do that again, shift and Alt. And we can do that with the other ones, too. So shift and Alt, grab this one and one last one to do. So shift and Alt and grab this one as well. Once we got all those, we can right click and go ahead and delete those faces, and there we go. Alright, this is looking good. So the next thing I want to do is press A for all, and I'm going to go ahead and press E and extrude those back to get some thickness in everything. And we'll just eye this up, and that looks about right to me. That's great. And then after that, the next thing I want to do is grab this face, this face, this face, and then this face. And let's go ahead and press E and extrude those into. And we'll take those in till we get something like that. There we go. That's really cool. That's looking good. Okay, so let's tap out of Edit mode. Let's go ahead and bring back the rest of our kitchen island so we can see what's going on. And let's go ahead and select it. And let's go ahead maybe set the origin to the geometry and bring it forward on the y axis. And just position that where we want it. I kind of want it. Something like that looks good to me. Do I want to send I think we're going to send the plinth back a little bit, so I'll grab this plinth and just take it back a little bit to create a step. To about there like that, that's good. Okay, so what else do we need to do? I'm seeing by the change of color in our face frame here that I think the normals are wrong, so I'll select it. I'll tap into Edit mode, and I'll press A for all. I'll press Alt N, and I'll go ahead and flip the normals, and there we go. That's worked out. Okay, so the next thing I want to do is go ahead and apply a bevel to this. So make sure it's selected, add, modify, generate, and bevel. And obviously, that's too much. So let's do our standard thing. Let's add two zeros to the right of the decimal point. Let's zoom in on this and see how it looks. And I think I'm happy with that size of bevel on this, but let's, of course, increase the segments to four, in this case. And, yeah, I think that's absolutely fine. Let's go ahead and apply this bevel. All right. That's cool. We're looking good. Okay, so I think the next thing we can do is go ahead and make a copy of this for the opposite side. So select the object, right, click, set the origin to the three D cursor, and now go ahead and press Alt D, right click twice, and go ahead and mirror in the Y axis. And there we go. Let's move our length back a little bit, maybe. Take that back a little bit. And yeah, that's good like that. Okay, that's great. So I think in the next lecture, let's go ahead and do our end panels, and then we'll take a look at our little circular table here on the side. Alright, thanks very much. And I'll see you on the next one. Bye bye, Fine. 24. Lecture 23 Island Part 3: Hello, and welcome now to lecture 23. And in this lecture, let's see if we can finish off our kitchen island. Let's see if we can get this one done. Okay, so the first thing I want to do is do our N panels. So let's do that first. So the cursor is still center of our worktop, so that's great. So let's go ahead and press Shift A, and let's go ahead and bring in a cube. Alright, I'm going to press three so I can see this from the side, and I'm going to tap straight into Edit mode, and I'm going to press S and I'm going to go wireframe. Let's press one so we can get the vertices up, grab these top vertices and go ahead and bring these down like this. Again, let's put those just underneath the worktop and take a second to position those nicely. And again, I'll leave a tiny, tiny, minuscule little gap between the top side panel. Let's grab this side now and bring this in. And let's do the same here. Just take a second, just to put a tiny gap between. And that looks about right to me. And we'll do the other side as well. Grab these ones, pull those over. Bring those back. And again, just a tiny gap between. That's plenty. Okay, let's grab the bottom vertices now and then bring those up and make them. So they're just below or yeah, just below the plinth, something like that. Okay. That's cool. Let's have a look at this in the press one on the numpad. See this from the front. Let's grab these vertices here and let's position those. I'll bring those until they're level with the plenth. I'm going to send the plenth back a little bit, I think. So bring those so they're level with the plenth now grab these ones as well and go ahead and take those back. Just sort of set the thickness of our end panel, and I'll make it maybe something like that. I think that's good. Okay, I'll tap out of Adi mode with that, and I think I'm going to go ahead and delete this plinth like that, and then let's grab the other plinth, and let's go ahead and take that one back. So I'll go ahead and press G and X and go ahead and take that back until it's something like that. That's about right, I think. All right. That's cool. Let's go back to solid modes. I'll press and then hit solid. I'll select this end panel like this, and I'll hit the forward slash on the numpad to isolate. Alright, so let's grab it and tap into edit mode. And let's go ahead and press two on a keyboard so we can select edges. I'll grab this edge here, and I'm going to put some control loops on this. So I'll press Controller. I'll take the cursor up to the edge, and the control loop will just pop in. And I'm going to roll the mousewheel to create some loops. And I think about that many is good. So how many is that? I've done seven cuts. Okay, so those still selected, I'm going to go ahead and press Control B, and I'm going to put a bevel on those. And I'm going to put a bevel thickness of about that much like that. And I'm going to put this out two segments just Okay, so I'm going to grab this edge here now, and I'll hold Shift and select this one and then this one, and then this one, this one, and this one and this one. And I'm going to take those back in the X axis to something like that. Alright, I'll tap out a radio mode with that. We'll check the scale, and that's all good. So let's go ahead and put a bevel on this, add modifier, generate and bevel. Okay, so I'm going to increase the amount of zeros to the right to the decimal points. I'll put two there, click Enter. I think am I happy with that? Let's increase the segments to three. I think I'm happy with that. I'll leave that alone like that. In fact, I'll go ahead and apply that bevel, and there we go. That's cool. Okay, I'll hit the forward slash to bring everything back. And now we've got end panel in place, and that's looking great. Alright, we deleted the plinth on this side because that was our intention. So now we can grab this plinth, hold shift, and select this panel and make sure the origins are in the right place, which they are. So what I'll go ahead and do now is press Alt D, right click twice, and go ahead and mirror in the X axis, and there we go. That's the other side in place, as well. In fact, for some reason, these ones have actually come over a little too far, but I won't worry about it. I'll just go ahead and just take those back just a little bit. And that's good. That's just fine. Let's just check the other side. That's still good. And yeah, that'll work out just fine. Okay, so the next thing I want to do is work on our little circular table, which you can just about see here, which goes on the side of our island, which a couple of little stools will run up against. Kind of place where you just want to drink your coffee first thing in the morning and look at your newspaper, something like that, anyway. So we can see the outline of it here on our plants. Let's press seven. And let's go ahead and press Shift A. And let's go ahead and bring in a cylinder. So I'm going to increase the vertices count on this one, quite high, in fact. I'm going to go to maybe 70, I think. There we go. I'll press seven to see this from the top, and I'll press S and I'll go into wire frame, and I'm going to go ahead and press S and scale this down like this, and I'll take it over and drop it in position, and I'll go ahead and scale it down a tiny bit. And that's just what I want. That's absolutely fine. Let's press one on our numpad so we can see this from the front now. And let's go ahead and scale this down just in the z. So let's press S and z and go ahead and scale this down to something like this. I'm kind of matching the thickness of our top. Okay, I'll take this up now, and I'll put this somewhere like there, I think. Kind of like that. That'll be fine. Okay, so let's go ahead and move the cursor to this now. So let's press shifts and cursor to the selected. All right, let's press seven again now. And let's press Shift A, and let's bring in another cylinder. So we'll leave the vertices count at 70, and we'll hit S and go ahead and scale this down, and we'll make this I'd say something like that. Seems good to me. I'll press one on the numpad so I can see this from the front again. And I'm going to go ahead and scale this down in the z, so I'll press S and z and just go ahead and scale this down All right, so I'll bring this more into position, and I'll tap into Edit mode with it, and I'll press one so I can select vertices, grab all these top ones now, and I'll go ahead and press G and Zed and bring those down. And let's zoom in a bit more, go G and Z again. And just drop out about there is good with me. Okay, let's repeat that process on the bottom now. Let's grab these bottom vertics and we'll press G and Z and go ahead and bring those down and drop that there with a wee, tiny little gap between them. Okay, so that one's good. So let's tap out of Ed mode with that one. And let's go ahead and press seven again, and we'll press Shift A and mesh, and we'll go ahead and bring in another cylinder. Let's go ahead and scale this down again. And let's keep on scaling this one down until it's just clear of the side panel, which seems about that. Let's press one to see this from the front and bring this down now and put this just like that. That's cool. Let's tap into Eddy mode with it and see where it's all at. And in this case, I'll let these vertices sort of go up inside this other one, the sub top, just like that, because we'll never see the underside of it. And now I'll grab these lower vertices, and I'll go ahead and bring these down, and I'll set those about like that. I think that's good. Okay, now I want to select this bottom face. So I'll press three, select this bottom face, and press I and go ahead and insert to something like that. I'll press one again on a numpad to see this from the face, from the front, and I'll press E, and we'll bring this down now until it's just short of the floor. And let's have a look at that and take it down a tiny bit more to about that. That's cool. All right. Let's go back to solid mode now. So I'll press S and go back to solid, and let's have a look at this and see if we're happy. And I think that's good. It just notches into the worktop there, but that's okay. I think that's fine. I think that's looking good. So the next thing we do is let's tap out of Ada mode, and let's start applying bevels to our surfaces. Let's select the first one at the top here, and let's press Control A, and let's apply rotation and scale. Let's add our bevel modifier. And let's put two zeros to the right of the decimal point, click Enter, and let's have a look at this. Maybe turn that one into a two. Let's see how that looks. And let's increase our segment count to four. And am I happy with that? I think that's a bit much. I'm going to put that two back at a one, I think. There we go. I'll leave that just like that. I'll apply that bevel modifier, let's go ahead and do a shade auto smooth on that and there we go. That's good. All right. Let's repeat that process on this one here now. Let's check the scale. It's out, let's press Control A, and apply rotation of scale, add our bevel modifier, add two zeros to the right the decimal point. I'll leave the bevel the same as the top, that'll be on one and I'll increase the segments to four. Let's have a look at that. It's hard to see on a on a curved surface, actually. But, yeah, I can see the bevel on that. I'm happy. So I'll go ahead and apply that. Let's go ahead and shade or smooth that, and, yeah, that's looking good. Okay, so let's do the excuse me. Let's do the column next. Let's grab this, and we'll fix the scale. And let's add our bevel modifier. But two zeros to the right the decimal point and increase our segments let's have a look at it from the bottom there. And yeah, I think that's fine, so I'll go ahead and apply that. And let's go and do a shade oro smooth, and there we go. Okay, so that's our kitchen island finished, and I think that's looking pretty darn good. So in the next lecture, we'll start doing kitchen cabinets here at the back either side of our chimney. And we will utilize quite a few components from our island to do that, because at the end of the day, that's the name of sort of rendering architectural renderings is trying to do things well, but also trying to save time where possible. So we'll do just that. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, Fino. 25. Lecture 24 Base Cabinets Part 1: Hello, and welcome now to Lecture 24. And on this lecture, let's have a go a start doing some of our base cabinets that we can see here on the sort of walls between our chimney. Let's see if we can make a start on those. We won't be able to do it all in one lecture, but we can make a good impact on it. And like I said before, we are going to utilize quite a lot from our island because it's good practice wherever possible to keep your work flow fast. Okay, so let's see what we can do. So I think the first thing we need to do is create a subgroup. So let's expand on cabinets. So we have Ireland. Let's click on Cabinets again and create a subfolder. Let's double click on it, and let's call this base Cabinets. There we go, click Enter and we'll keep that selected so that we can drop our objects straight into it. All right. The next thing we can do is actually just take this top here and that's the first thing we'll go ahead and use. Whatever we do, we don't want to ever move it on the Z axis because of the fact we're making a copy of this, if we keep it on the Z axis, then the height of the base cabinets will be exactly the same as our island cabinet. Let's go ahead and press Shift D and X, and we'll bring it over on the X axis like this. Alright, the next thing you want to do is bring our walls back. So let's hit the little eyeball on our walls and bring those back. And let's press seven on numpad so we can see this in the orthographic view, and let's go into wireframe. Alright, let's take this back now on the Y axis. And let's take this back until it's just about touching the back wall. That's good like that. And now let's go ahead and tap into Edit mode with it, grab these front vertices here, and we'll take those back until they're kind of middle on our reference image. So middle of that back line like that. So we can select these vertices now and we'll take those back until they're just about touching the chimney, but not quite, if that makes sense. So touching but not touching that we'll go to about that like that. I think that's good. Let's grab the other ones now. And they're here, and we'll take those back as well to let's have a look. Let's get closer. And we'll put those about there like that, it's about right. All right, so let's press two so we can select edges, and we'll grab that edge there. And we'll press Control, and we'll bring a loop in and we'll slide that loop over until it's level with the worktop going this way, going backwards here like this. And we'll put that about there like that. Let's press three so we can select faces, and we'll grab that face there now, and we'll press E and then Y and bring that out now like this. Let's press seven again so we can see this from the top. And let's go ahead and bring this out now until it's level with our reference image worktop, which is about there like that. Okay, and just like that, we've got our worktops in place. Let's press Z and go back to solid for a moment, and let's go ahead and tap out of Edit. Alright, so the next thing I want to do is utilize this face frame here and doors and drawers. And actually, we can grab the plenths well. And once we got those, let's go ahead and press Shift D and X and bring a copy out like this. Okay, so let's press seven to see this from the top. And let's go back to wire frame now. And let's go ahead and set the origins to the geometry and go ahead and pull these back now, like this. So we'll take those behind the worktop. We won't set them exactly flush. We'll take them back a little bit to something like that. Maybe we take it over a little bit this way to about there like that. And let's press one so we can see this from the front, and we can see the reference image behind. So we'll kind of use that as a guide. And I want to hide the island. But the moment this duplicate is still in the island group. So let's press M. And let's go to cabinets and base cabinets. And let's go ahead and click on that to put that over there in the base cabinets. And we can select the top, as well. Let's grab that and the plinth. Let's grab that, too. And let's press M, and let's go ahead and drop it in the base cabinets. Now we can go ahead and hide our island units for a while. All right, so let's grab this one now and maybe this one as well. And let's tap into Edit mode. Let's press one so we can select vertices. And we'll grab all these vertices this side. And let's go ahead and pull those over now until they're just up to the chimney, Which is let's zoom in a little bit more. I'll take it back a little bit so I can find out where it is, and it's right there like that. So I'll put that just there. Now this side is a little bit more tricky because we don't have the units in yet, but I'll grab those and I'll go ahead and bring those over, and I'll go ahead and drop those there for the moment, about there, I think. Now we can see where the door handles are on our reference image. So I'll grab all those vertices with some of the drawer vertices and the door. Let's grab those and bring those over now until they're level, just about level with the edge of the drawers on that reference image and that door like that. That's great. And we'll do the same with these now. We'll grab these ones, and we'll go ahead and pull those over. We're making the doors narrower and the drawers wider, and that looks about right like that. Okay, let's go ahead and press Z now and let's go back to solid mode. And let's go ahead and tap out of edit mode for a moment. And there we go. So that's good progress. That's looking good already. Let's have a look at the overhang to make sure that the kitchen worktop has an overhang to our cabinets, and it has, and I think that's about right. Yeah, I think that's looking good. So the next thing I want to do is take the end panel from the island and put it here or a copy of it just here. So let's bring the island back again. And let's grab our N panel here and let's go ahead and press Shift D and X and bring a copy out like this. Let's go ahead and set the origin to the geometry, and let's press z90, Enter. There we go. Let's press seven so we can see this from above. And maybe let's go back to wireframe and let's go ahead and take this over now like this. Take this back like this. And let's zoom in on it, and let's set where this panel is going to be. So I want the worktop to overhang the panel a little bit, maybe about that much, and here as well, I want that to be just set back from the front face of the worktop by about that much. So you can see this panel is actually in the wall at the moment here. So we will do something about that. We won't leave it like that. But at this moment, I'll leave it just so we have the option to change things if we want to. Okay, I'll press one, so we see this from the front for a moment. And let's go ahead and tap into Edit mode with it. We'll grab these lower vertices here now, and let's pull those down to the floor. And let's take this in and go ahead and pull this down. And again, we'll leave a tiny little bit of a gap to the floor so we have a nice little shadow detail of about that much. Okay, so, let's have a look at that. Let's tap out Eta mode, and let's go back to solid mode for a moment. And, yeah, that's looking good. I think that's looking great. So let's go ahead and duplicate these cabinets now to the opposite side. I think that's the next thing to do. So to do that, I'm going to bring back our roof structure, so let's go ahead and turn that on. And I think what I needed more really was our roof panels. So I'll go ahead and turn one of those on like that. And I'll grab this one, and I'll tap into Edy mode. Press three, so I can select faces, maybe grab that face there like that, and I'll press shifts and I'll bring the cursor to there so I know it's perfectly centered in the room. Okay, so now that I've done that, I can go ahead and tap out of Edy moode with that and go ahead and hide that one again. And we can go ahead and hide our roof structure. I didn't really need that. That was a bit of a mistake. Okay, let's grab this one now and then this panel as well, and this main face frames and that little plinth, let's grab all of those, and let's right click and set the origin to the three dcursor. Now let's go ahead and press Shift D and double click twice, and let's go ahead and mirror to the X axis, and there we go. Now, these may not be perfect. There may be a little bit of tweaking to do. Let's check that. Let's press seven to see this from the top. Let's press Z and go into wireframe. Let's see if we've got some light tweaking to do we do. Let's tap into Edimde with those, let's go ahead and make sure we can select vertices. I'll press one, and I'll grab all these vertices here now and I'll just pull those over until it's just with a tiny little gap. Just like that. I think that's cool. Okay, so what else do we need to do? Let's check it to the wall here. So let's press seven again. And let's grab these vertices here now. And which are ones, these ones here. And let's make sure that that's just off the wall. So that will be there like that. Okay, so let's go back to solid mode for a moment, and let's tap out of Edda mode, and let's look at our handiwork. And you can see how quickly we've created our wall cabinets. And yeah, they're looking great. Okay, so in the next lecture, we'll go ahead and do these returns here on this one and fill in this gap here. And on this one, I need to do, like, a kitchen sink, as well. So we'll do this unit slightly different, and we'll put a sink unit in there as well. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 26. Lecture 25 Base Cabinets Part 2: H Hello, and welcome to Lecture 25. And in this lecture, let's go ahead and do a sort of face frame for this side here, this lowest face frame. And I don't think I can use this one as a copy, modify, because it's got drawers, and I don't think I want any drawers on this side. Just because of a practical side from the kitchen, we've already got drawers on the island. We've got drawers here and we've got drawers, sorry, on the opposite side here. So I don't think I want any more drawers on the return on this side or on the opposite side here. So let's go ahead and make a start on that. So I think the first thing I want to do is go ahead and hide our windows and walls. So let's go ahead and turn the little light off on that. There we go. And I don't think I want to see the island, either. So let's go ahead and hide the island. Ah. But I did want this end panel. So let's bring the island back for a moment. Let's select this end panel. Let's press M. Let's go to cabinets and put it in the base cabinets folder. And there we go. Now we can go ahead and turn off our island. That's cool. Let's bring the origins or the cursor back down. So let's press Shift S, and let's bring cursor to world origin. There we go. And let's go ahead and bring in a plane. So let's press Shift A, and let's got a mesh, and let's bring in a plane. There we go. Let's rotate that on the y axis. So let's press y90, Enter. And let's go ahead and take that back a little bit. Something like that. And let's press three on our numpad so that we can see this from the side view. Let's take this over a little bit like this. And now that we've done that, we can kind of see our end panel here and we can see our face frame panel here. So let's work this out. Let's go ahead and tap into Edit mode, and let's press Z and go into wireframe. So let's bring these top vertices down a little bit until they're just underneath the worktop. Let's zoom in a little bit and see where it needs to be. And about there is good to me. Let's do the side now. Let's grab these and take this over like this. Let's zoom in a little bit more. Let's go ahead and press G and Y, and take this over like this. Let's grab the base ones now, and let's take those up like this. And let's press G and Z and take this up like this. There we go. That's cool. And let's do the last ones now. Let's grab these ones, and let's go ahead and take that over to the end panel like this. Let's take that over that last a little bit. To there. That looks about right, I think. Yeah, that's good. Okay, let's press two so we can select edges and grab this edge here. And that's press Control. And how many doors do we want? Let's roll that mouse wheel and get some doors in there, and should we go four or shall we go five? Five makes quite small doors, doesn't it? And that's an odd number, as well. So if you think about the cabinets behind the doors, that would mean like two double cabinets and one single, which you can do, but aesthetically, I think I'll go four, which is kind of similar to the width of the doors on the other side as well on the side, which is on the same side as the chimney. Am I making sense? I hope so. Yeah, on the same side as the chimney. So I think that's similar kind of width, so I'll go with that. Okay, let's press three so I can select faces, and let's grab this one and then this one, this one, and this one. And let's zoom in because I want to use this return panel as a kind of a reference now because I'm going to inset until it's level with that there, which is the gap between the door and the frame. So I'll press I and go ahead and inset that, and I'll use the grid pattern behind as well as a reference. And that is about it like that. Let's zoom out, and we need to make sure that this is on individual on inset faces. And there we go. That's cool. So let's do that again now to create the gap. Let's press I and bring this in until we get the gap between them, which is about about there, I'd say that's about right. Let's make sure that's individual already, and it is. So now we've got another inset to do to make sure it's parallel with that one. And that's where the door sort of recesses in. So let's press I and inset that one. And let's use the grid pattern behind. And I'd say that is about right there like that. Let's just zoom out and make sure they're still individual, and they are. Again, we've got the problem and it's just too thick in the middle because of the inset. So let's fix that. So let's press one so we can select vertices. And I'm going to select all of these vertices and I'll hold shift and grab all of these ones, and I'll hold shift, and I'll grab all of these ones. And we won't do the end because that's the right width. And now let's go ahead and move that over on the y axis. Until we get something like that, I'd say. Let's do the same now. Let's grab these ones. I whole shift and grab these ones and these ones. And let's go ahead and take that over the Y axis now to get about that. That's about right. That's what I want. Okay, so that's looking good. We can go back to solid mode now for a moment, and let's press three so we can select faces and let's go ahead and hold down Alt and just select that one like that. Okay. Let's press Shift and Alt now and just select this little edge here, and grab this one, and press Shift and Alt and select this one. Let's do it one last time. Let's press Shift and Alt and select this one here like this. Once we get all of those, let's press X and delete those faces. And there we go. That's cool. All right, so let's extrude this. Let's press so we can select all faces, and let's press E and X and go ahead and take that back to get some thickness in this. And it doesn't matter too much what the thickness is. We need a little bit of thickness so we can recess those center panels in the door, but we'll never be able to reference that thickness. So it doesn't matter too much. I'll go with something like that. Now we can select this one, this one, this one, and this one, and we can go ahead and press E. And inset that as well like that to get the thickness of our door panels. And that's cool. That's looking good. So we can tap out of dit mode for a moment now. I think we're done with that, and we can go ahead and take that back now until we're in the right position. So I'm just going to press G. Sorry, just get myself in position. I'm just going to press G and X and take this back now. Until we've got that corner line through, which is about there like that. Let's have a look here and see how it's looking, and that's looking good. I'm happy with that. So I think the next thing we need to do is bring a plinth over and set that position. So I'll grab this plinth, and I'll right click and set the origin to the geometry, and I'll go ahead and press Shift D and Y and bring a copy out like this. Okay, let's rotate that in the Z axis. So I'll press and Z and 90, Enter. And let's go ahead and take that back like this. Let's take that over on the Y axis now, and let's zoom in on this corner. And it's starting to run a little bit slow blender. So what I'll do is I'll hit the decimal point to the numpad and just center on that plinth, and now it'll zoom in fast again. So I'll go ahead and press G and Y and take that over a little bit. And now I'll go ahead and press G and X and bring that back a little bit until we've got that corner where we want it. Let's have a look at it here and what we need to do. I'll press three so we can see it from the side, and I'll grab this one and tap into Edit mode with it. And let's go into Y frame two, and let's press one so we can select vertices, grab those ones there, and move that over like this. Let's set the position on this one. And that's good. Let's just have a look at the other side. Yeah, I'll leave that just where it is. That's fine. Okay, so let's go back to solid mode now and see how we're looking, and I think we're looking good. I'll tap out of edit mode with that plinth, and I think looking at this panel, I'd say the normals are the wrong way around. You can kind of see that it's a slightly different color. So let's grab it. Let's tap into Edit mode with it. And let's press A for O. Let's press Alt N, and let's flip the normals. We can tap out of Edit mode now, and, yeah, that's fine. Now. That's looking better. What else do we need to do? Well, we kind of want to put a bevel on this, let's do this next, but I can see that the normals, sorry, the rotation is wrong. So let's select it. Let's press Control A, and let's go ahead and click on rotation and scale. And there we go. That's cool. So let's zoom in so we can see it. And let's go over to our modifiers group. And let's add our bevel modifier, so generate and bevel. And, of course, let's put our standard two zeros to the right of the decimal point, click Enter, and let's have a look what we've got. Whoops. Zoom in on it so we can see. Let's try a two and see what that looks like. And let's add, of course, four segments, or shall I go for one on that? I think I'm going to go for one, so I'll replace that two for a one and click Enter, and there we go. I'll go ahead and apply that bevel, and there we go. That's that done, and that's looking really good. So let's bring everything back so we can see our progress. So let's bring back our walls and windows and our roof structure. And I am seeing that sort of the cabinets and these columns are sort of intersecting, and we don't want that. So let's select these columns. This one here and this one and this Oh, yeah, that's all of them. And let's press seven, maybe, so we can see this from above. And maybe now let's just bring that over a little bit until the columns aren't touching the ends of the kitchen cabinets. Okay, we got a little repair here to do, as well, so let's maybe grab this one whole shift and grab this one. Let's tap into edit mode with those. And let's press and go into wireframe. We'll just grab those like that. Let's zoom in a little bit. And let's go ahead and press G and Y and fix that. We'll bring those back up to there like that and tap out of domode with those. Maybe select this one, hold shift, and select this one, and let's tap into Edo moode with that. And let's select these ends here, whole shift and grab these ones. And let's go ahead and press G and Y and take those back as well, until that's about right, which is I like that. It looks like, to be honest, pressing seven and looking at the reference, I didn't have those columns on the right place. I should have actually checked this reference, but it's okay. It's not a big deal. We've fixed it. I could actually tap out of Edit mode and just grab this one and maybe reposition this one over a little bit more like that. And, yeah, that's fine. Okay, so that's looking good. Let's go back to solid mode now and see what we've got. And yeah, that's better there. That column is now not sort of touching that end of the kitchen cabinets. Let's bring back the rest of things. What else can we bring back? Let's bring back our island. And we haven't got windows in this, so let's open up our Windows file and we can bring back in our small windows and our roof lights and just see how everything's looking. And it's looking good. I'm liking the progress that we've got here. It's really starting to come together. Excellent. Excellent. Who's it? Excellent. It was Mr. Burns from the Simpsons. I remember that now. Mr. Burns. Ah, I like the Simpsons. I haven't seen that in ages. I'm sorry, I'm digressing again. I'm going I'm forgetting what we're doing. We're making models in blender, not talking about the Simpsons. Let's go back to our kitchen. Okay, so I think that's actually it for this lecture. Let's leave that on Simpsons. And in the next lecture, we'll start looking at our return cabinet just there. Okay, so let's go ahead and do a save on this. Gonna save our good progress. So Express control us. And I'm off to watch the Simpsons. I'll see you in the exect you. Bye bye for now. 27. Lecture 26 Base Cabinets Part 3: Hello, and welcome now to Lecture What are we on Lecture 26. And in this lecture, let's go ahead now and finish our base cabinet. So we have this frame to put in here. But also, this is the elevation that will have the very traditional looking kitchen sink in there. So we'll put that one in as well. Well, we won't model the sink in this lecture, but we'll create the cutout for that. So we'll do that, too. And there is something else I noticed between lectures that I didn't move this column here when I moved the other ones, when I moved these beams and the rest. So I'll just move that one. So I'll grab it and I'll press seven. And you probably didn't miss it, but I did. So I'll just move this over like this. There we go. That's cool. That's done now. Okay, so let's hide stuff again. First of all, we'll compress the reference file. We won't hide it. We'll just compress it to make things look a bit better. And do we need walls and windows and doors? I don't think we do, so let's hide that. And let's go ahead and hide our roof structure, too. We don't need that. So we just have our cabinets. And I think the next thing we're going to do is hide the island. But I think probably this panel is still part of the island. Let's select it. And you can see that the island has got this icon on it now, which is saying that there's a selected component within that folder. So that means that it is still part of the island. So let's go ahead and press M, and let's go down to cabinets and let's put that in the base cabinets folder. There we go. Now we can go ahead and hide the island. That's done. I also want to hide this side here so we don't confuse ourselves. So we could just select it all and press H and hide it, but I want to be a bit more organized than that. So what I'm going to do is create two subfolders. So this will be the left cabinets, and that will be the right cabinets so that we can hide that one here on our outliner. So let's go to our base cabinet folder like this and let's hit the little subfolder icon. Let's double click on it, and let's just call this left. Now are you? And let's click on our base cabinets folder again. Let's create another subfolder, and let's call this right. There we go. That's cool. So let's select everything here. So I'll just create a selection square around everything. And this is all highlighted here. So I'm just going to hold down the left mouse button and drag and drop that into the left group like that. And now we can go ahead and hide that. So let's select all of this now. And let's go ahead and drop that into the right like this. There we go. That's better. So now we're quite organized in this. We could go ahead and compress our left folder. And we've really now this is nicely organized outliner. There is lots of components already, but they're nicely organized. We can compress our folders and see exactly what we're working with. So this is nice organization. Alright, so now that we've done that, let's go ahead and bring in a plane. So let's press Shift A and mesh and plane. There we go. Let's rotate that on the Y axis. So let's press Y, 90 and enter. Let's press three, so we see it from the side, and let's go ahead and bring this over like this. Okay, let's go into wireframe, and let's tap into Edit mode. Let's grab our vertices. Kind of. We've done this a few times now, so it's the same kind of thing. We'll just bring this down and drop that in position. I'll just bring it down a little more to see where I am, and then I'll bring it back up into position like this. Okay, let's do this, on this side now, I'll bring this over like this. And now let's get close to it so we can see what we're doing. And let's press G and Y and bring that over and leave a minuscule gap between them. Something like that is good. Let's grab these two vertices on the bottom, bring those up. And let's see where we are. And now let's press Gans E and take that up until we're in the right position with that one. And last ones is just here, as we know. Let's bring this over to the end panel like this and drop that in position. And there we are. That's cool. All right, so I guess the next thing we need to do is, Oh, let's take that over closer to our piece, so I just we can relate to it a bit more, drop that in maybe something like that. And now let's tap into Edit mode again with it. And let's press two, so we're selecting edges. Grab this one, and let's press Control. Let's roll that mouse wheel and see what we get. And I'm thinking this time, I'm going to do more because those two middle doors, those two middle gaps, that'll be the size of our kitchen sink. It is a big sink that we're putting in. It's a really old traditional one. So I think, yeah, those two middle ones will be part of the cutout for the sink. And then the two on the left and the two on the right will be full size doors. So let's go ahead and click on that where it is like that. Okay, I think now we can go ahead and isolate this, so let's tap out of Edit mode for a moment. Hit the forward slash key and isolate it on it. Let's tap back into Edi moode with it. And let's select the edge here. Let's press Control and put a loop in here, and I'll take it up to about there, I would say is about where I want it. So nearly, if not, two thirds of the way up, just under two thirds of the way up. Now that I've done that, I will select this edge here, this edge, this edge, and this edge, I'll right click and I'll go ahead and dissolve those edges. Let's press three. Select faces, grab this one, and then this one, let's right click and delete those faces. And that's cool. That's what we want. Okay, let's press three so we can see this from the side again nicely. And let's select these faces. Actually, I need to bring stuff back. I need to bring back this side so we have a reference. So we'll hit the forward slash key to bring those back, and then I'll press three so we can see that from the side again. Okay, so we're going to inset again, and we're going to bring it down to that line there, so we have the outer framework. So let's press I inset that. Let's use our frames the grid at the back there to sort of get our reference from. And that's about right to me. I'll click there. And I can see without doing anything individual is not selected, so let's select that. And just to be safe, let's zoom out and see that that's correct. And it is. That's fine. Okay, let's press I again and let's inset again. Use the grid as a reference to what we're doing and create our door gaps, and there we go. That's cool. And individual is still selected, so we're good there. So let's press I again now and go ahead and create the frame to our doors and use the grid as a reference and put that just there like that. That's cool. Let's zoom out on this and see what we're doing and see what we want to achieve. All right, so what do we want to do now? I think the next thing I want to do is go ahead and reduce these widths again, as we've done previously. So let's press one so we can select vertices. And I'll grab all of these vertices here, and I will grab these vertices here, and I will grab these vertices here. And now let's go ahead and take that over a little bit so we can reduce the gaps between these. Now let's select this and hold down shift, and select this and hold down shift and select these. And now let's take that over in the opposite direction to narrow that center rail down a little bit there like that. That's cool. That's what we want. So actually, the next thing we could do is maybe just reduce this one. So I'll just grab this one on its own and pull that over a little bit, as well. Like that and do the same here with this one, maybe just pull it over a little bit like that. And I think that's fine now. We'll leave that alone. I think I'm happy. Okay, let's go to solid Modo so we can see what we're doing. And let's press three so we can select faces. And let's go ahead and delete those group of sort of edges for the door gaps. So I'm struggling to zoom in, which is something I'm pleased that's happened, really. This is something that happens now and then we blend it. It just kind of locks, and it won't zoom in anymore. So we need to kind of recalibrate blender. So there's two ways of doing this. You can either select the object and you can just hit the decimal point on the numpad, and that will sort of recenter blender and allow it to sort of zoom in again. Or there's another way you can hold down Shift and press B and you get these cross hairs come up and now draw a square around the area that you want to see closely. I'm going to say there and blender will zoom in on that area. There's two ways of doing that. I'm pleased that happened. So now that we've done that, let's select this group. I'll hold Alt, hover over this little area here, and select that and hold Shift and Alt, hover over that little area and select that and let's move along. I'll zoom in here, I'll press Shift and Alt and select that one. And I'll go again. So I'll press Shift and Alt and select that one. Move it ling along and do that again, Shift Alt and grab this one. And last but not least, Okay. Shift Alt, and select this one. Let's right click and delete those faces. There we go. I don't think we need these little random edges here, so let's press two and select this one and this one and this one and this one, let's right click and dissolve those edges as well. Okay, that's cool. So I think the next thing we can do is go ahead and extrude that back. Or, no, before we do that, let's position this. So actually, let's give it a little bit of thickness. Sorry. Sorry to sort of go all over this shop, but I know what I'm doing, really. So let's press A, and let's press E and X and put a little bit of thickness to it like this. Now let's press seven, so we can see this in the orthographic view. Let's actually tap out of Edit mode, and let's press Z and let's get a wire frame, and let's put this in position. So let's press G and X and go ahead and take that back until that's in position, I like that. There we go, Let's check that there. And that's cool. So we could tap into Edit mode with it now, and we could press one, and we can select all Actually, those vertices are already selected, so that's cool. And we will take this back until it's to the wall like that. That's cool. I'm not too worried about being super close to that because we'll never see the back of a cabinet. That's cool with me what we've got there. Okay, let's go back to solid mode and see what we've got. And yeah, that's looking good. I'm pleased with that. Okay, so the next thing we can do is press three, and we can select this one, this one, this one, this one, this one, this one, and we'll go ahead and take that back, so we'll press E and X and go ahead and take that back to create the recessed front panel on our doors like that. That's good. Okay, I'll press two now, and I'm going to grab that edge there. I don't think we need that, so I'll right click and dissolve that one. And is there anything else we want to do? I think we're kind of finished with this, so we can apply bevels to this, actually. So let's do that next. Let's tap out of Edit mode with it. And let's look at the scale. The rotation is out, so let's press Control A, and let's apply the rotation and scale, and let's add our modify it. Generate and bevel. And let's go, you know, our usual thing, two zeros to the right to the decimal point and hit Enter. And let's have a look at this. I'm going to leave that one, I think, but of course, let's increase the segments to a four or three, if you like. And let's go ahead and apply that. There we go. That's cool. That's looking pretty slick. Alright, so I guess next thing we could do is go ahead and grab that plinth and make a copy of it. So let's right click on that and go ahead and set the origin to the geometry. And let's press Shift D and Y and bring a copy out. And let's rotate that on the z. So let's press R and Z, and nine and zero and enter. Alright. The next thing we can do is maybe grab these two on their own and hit the forward slash key to isolate those. And let's press seven to see this from above. Grab this one on its own and bring it over and bring it back like this. And let's get to that corner and have a look at it. And let's press G and then X and bring it back into position like that. That's fine. Okay, so let's bring back everything. So I'll hit the forward slash key again, and I'll press seven again to see this from the top. And I'll press seven. I'll get a wire frame. And I just want to grab this one, and let's tap into Edit mode with that. And let's go ahead and press one so we can select vertices. We'll grab those, and let's pull that over to our end panel like this. And drop that in position just like that. I think that's maybe a little bit closer. There we go. That's cool. All right, so that's looking good. Let's go back to solid mode and have a look at what we got. And this is looking pretty good. We don't need that plinth. Now, we're done with that, so let's tap out of Edi mode. And, yeah, that's looking good. So, there's one more thing I want to do. I want to create the cutout for the sink in the worktop. So let's do that next. I think I'm going to bring the walls back for a minute so we can see those. And yeah, maybe it'll help us a little bit just as we get this because I want to create the cutout slightly just slightly smaller than this surface here, in the Y axis, just a tiny bit smaller. But in this axis here in the X, I want to leave some of the workup behind so that a tap, a faucet can be put in that area on that remaining surface. So hopefully you kind of get what I'm saying now. I'll sort of show you as we go along. Let's grab this one and tap into Edit mode. And let's press three so we can select faces. Grab that face there, press Shift D and Z, and take that up just a little bit, like that. Okay, now we want to separate that from the rest of our cabinets here that are highlighted. So let's press P and separate by selection. That's it. Now that is a separate object. Okay, let's tap out of Edit mode and grab this one. And now let's go ahead and tap back into Edit mode. And let's press one so we can select vertices. And let's press seven so we can see it from above, and let's go into wireframe. Let's grab these vertices here. And let's just pull them back. And I'm really saying just a tiny bit to something like that. Those lines there represent the edge of the cabinet, so I've just brought it in just a tiny bit, and we'll do the same on this one now. I'll grab this one, and we'll just go ahead and take that back. It's just a tiny bit like that. Okay, let's go back to solid mode now. And let's press three, so we can select faces, grab that one, and press E and Z and go ahead and extrude that up in the z axis like this. There we go. That's cool. That's what we want. Okay, so now that we've done that, let's go ahead and bring the whole thing forward. So I'll tap out of Edit mode, and we can go ahead and set the origin to the geometry and go ahead and pull that forward like this. And let's figure out how much room we need to put a tap at the back here. And I think about there maybe a tiny bit more maybe. That would be about right to me. Okay, that's cool. So let's check our scale on this, and it's all good. Let's have a look at our worktop, as well, and the scale is out on that. So let's press Control A and apply rotation and scale. And it flipped the normals, but we'll see what the Boolean does first before we flip the normals back. Let's select the worktop on its own now. Let's add a modifier, generate, and we're looking for the Boolean. And now let's grab our little dropper and let's select our cube, and there we go. So the boolean automatically flipped the normals back here. So that worked out, and we can see that that worktop has now got a cat out. So let's go ahead and apply that boolean, and let's go ahead and delete this. And there we go. We've got our cut out for our kitchen sink, and that's looking just fine. Okay, so that's really good. We can compress this folder because we're kind of done with that one for now, and we can bring our island back and we can bring our roof structure back and we can see how we're doing. In fact, let's bring everything back so we can see our handiwork. So let's bring back our Well, I'll leave the bifolding door out so that we can see. But I'll bring back the side door, and I'll bring back the roof, and there we go. This is starting to look really good. We, we can bring back these ones, too. We're missing this one. Sorry. So let's bring back our left base cabinets, and there we go. So, yeah, I mean, that's looking really good. This is already a kitchen that I would absolutely love. And that's kind of the point of what we're doing here is we're trying to create renders that would sell something that would just if you were the customer and you go, Wow, I would love that for a kitchen. Where do I sign? And that's the point of what we do. So this is working out nice. Okay, so in the next lecture, what shall we do next? I think we will start doing our wall unit. So there's two runs of wall units, one this side, and one this side. Let's start doing those next. Alright, thanks very much. And I'll see you in the next one. Bye bye, Fino. 28. Lecture 27 Wall Cabinets: Hello, and welcome now to Lecture 27. And in this lecture, let's have a go at doing our wall cabinets, which go on the walls here, either side of the chimney. So let's see if we can do those. So I think the first thing is, we brought everything back just to get a nice view of all our progress and see how we're doing. So let's go ahead and hide most of this again so we can crack on. So we don't need the roof structure, so let's go ahead and hide that. And within the cabinets, I don't really need the island now. And actually, while I'm in this cabinets file, I want to create a subgroup now for our wall units. So let's click on cabinets just here and hit our little add sign. Double click on cabinets three and call on the wall cabinets. There we go. That's cool. Leave it highlighted so that when we create objects now, they'll go straight into that file. And let's go into our walls and windows group now, and we don't want to see the side door or the small windows or the roof lights. We do want to see the chimney. Don't need to see the roof panels, and, yeah, we need to see the walls. There we go. That's cool. While I'm actually doing this, there's something I haven't done so far, which I should do, which is I should start locking some items. So the walls here, so we've just selected and have highlighted here, let's hit our little arrow that we talked about to go ahead and lock our walls so we can't accidentally move them. And actually, we could do the same with a chimney. Let's go ahead and lock that, too. Go. All right, so let's make sure that our wall cabinets are highlighted again. And let's go ahead and press Shift A and mesh and plane. There we go. Let's bring that up slightly in the z axis like this. Let's rotate it in the X. Let's press x90. Let's press seven so we can see this from above. And, of course, 'cause it's plane, and we're in solid mode, it vanishes. So let's go ahead into wire frame and we'll have it back again. And let's pull it forward like this. And let's take it over and position this. About center of this line here, this is our wall cabinets in the plan view. So let's put it about center. About there, I'd say, Okay, let's tap into Edit mode with that, and let's press one, so we've got vertices. Let's get these ones here and pull them over until they're to the chimney. And we're seeing a lot of lines here, and it's because we have a bevelled object, so we're seeing the segments of the bevel. So I kind of as a general rule of thumb, go to the densest point when you get this. So it's about there, and that generally will be about the main wall surface, and the rest is the contours of the bevels, the segments. So let's do the same on the other side here. Let's grab this and take it over. And drop that About there like that. There we go. Let's press one now on a numpad so we can see this from the front. And let's grab our lower vertices here and go ahead and take them up like this. And with this one, I want to put it about halfway between this line and this line. So let's grab these vertices again. I drop them. Oops. Try again. There we go. And put it about there. The lower section is like a trim panel on the base of the wall cabinets to hide the lights, so we'll leave that about that. Okay, let's get the top one now, which is these ones here. And let's figure out where we want that. And I would say, we want that about well, about level with that dark line, which is the opening for the bifolding doors. Let's put it about level with that. There we go. That's cool. That's our panel in place. Let's tap out of Edit mode, and we can fix the rotation on this. Let's press Control A and apply rotation and scale. And let's tap back into ni mode now, and let's press two so we can select edges. Grab this edge here, and let's go ahead and press Control and put some loops in. And how many doors shall we have on this? Do we want four or do we want five? I'm going to go with four because it's more symmetrical, so I'll go with that, and I'm happy with the bigger doors. So I'll go ahead and double click I put those there like that. Alright, so for a moment now, I don't really think I want the walls, so I'll go ahead and hide those as well. There we go. So we just have now the cabinets and the chimney below. Let's press one again, so we see this from the front, and we need to start putting some details on this now. So let's press three so we can select faces or grab those little dots in the middle. And that's how you select faces when you're in wireframe mode, if I haven't told you that. And we're going to use the grid to be able to scale sort of insets now on this one from this one. So to the gap between the doors and the outer frames, we have one, two, three, four, four and a bit. That's my technical term, four and a bit. So let's see if we can do that. So let's go ahead and press I and bring that in one, two, three, four, and a bit. There we go. Make sure here in inset faces panel, the individual is selected, and that's happened. We can see that. Okay, let's take another reference. So our gaps here now is around three quarters of a square equals the door gap. So let's do that next. So I'll press I and I'll inset that. There we go to there like that. And now we need the door frame itself. So it's one, two, three, about three and three quarters. So let's do that as well. So I'll press I, and I'll go one, two, three, and three quarters is there, and there we go. And I'm not too concerned if we've got slightly different dimensions between the lower cabinet and the upper cabinet as far as the aperture sizes or sorry, the door sizes and the gaps in the frame because we've got a large distance between them, so it's going to be harder to see. So the ones on the side here, that was quite important that they're the same because they're right next to each other. But because we've got this major gap between them, it's not nearly as important. But I think we're really close anyway. All right, so we can go back to solid V view for a while now, and let's go ahead now and deselect everything and hold Alt and select that one there. And let's hold Shift down Alt and select that one there, and Shift Alt and select this one and Shift Alt and select this one. Let's go ahead and right click and delete those faces. And let's press A fall, and let's go ahead and extrude that back in the Y. I'll just do something like that for a moment, just so we can see that we have an extrusion. And let's press seven and see this from above. And let's go ahead and press and go into wire frame. And now we can go ahead and carry on taking those back until they're up to the wall, which is about there like that. Okay, this is looking good. So let's go back into solid mode now, and let's select this face, this, face, this, face, and this face. And let's go ahead and extrude those back to create our recess in our door panels. So we'll press E and Y and go ahead and take that back until we get something like that. There we go. That's good. Okay, let's tap out of Edi mode with that, and let's have a look at it. And it seems to me like it's a different color, so I think the normals are incorrect. So I'm going to go ahead and tap back into Edit mode, and I'll press A, old N, and flip the normals, and there we go. G let's tap out of Edit mode with it and see if that's better. And that's better. Alright, is there anything else we want to do? I'm wondering now looking at it, maybe I've got this lower horizontal rail, a little too thin. You've probably done better, but yeah, I think I want to personally, I want to change that. So I'm gonna tap back into Edit mode, and never be scared of changing things around a little bit. You know, we have the ability to do it, so we should. Let's press one, let's go ahead and just drag that down just a tiny bit just to increase that. And that's enough. That's all I want. There we go. That's cool. Okay, I'll tap back out of Odomde with that now. The next thing we can go ahead and do is apply a bevel to this. So let's grab it, check the scale. That's all good, add our modifier, generate and bevel. Let's put our standard two zeros to the right to the decimal point, enter. And let's up our segments to four. There we go. And let's go ahead and apply. Alright, that's looking good. We've got our wall cabinets done, so now we just need to create a duplicate, put it to the other side, and just check it. So let's bring the walls back now. So, where's our walls? I think it's this one, actually. Let's select this unit. Let's press seven so we see it from above. And let's go ahead and press Shift D and X and take that over like this. Let's have a look at that. And it looks like our wall cabinets are slightly bigger this site, or the gap is slightly smaller, just a tiny bit. So let's just see what we can do about that. Let's press S so we can go into wireframe, and let's tap back into Edit mode with it and press one for vertice selection, grab these ones here and just pull them back just to about there. I like that. You probably don't have to do this, but, yeah, this is what I need to do just to make this. So we'll bring this one back, as well to about there like that. And there we go. That's done. Let's go back to solid mode, and let's tap out of Eddie mode with that. And there we go. That's good. So let's just have a look at this. So we have our wall cabinets here. Here's plane 16 and 17. Okay, so that's it for our wall units. That's done. So in the next lecture, what should we do? We can either put the details on these cabinets. We've got like, we've got the crown moldings to put on top, and we've got a little a little molding to go on the base here, and we've also got a splash back to go on the back of the worktops here and not around the windows. We've got our taps and we've got our basin. So we've got a few more details to put on these kitchens yet, but that's all good. That's really going to make things look really good. Or maybe we should just carry on and carry on with the cabinets. Let's ignore that bit. We will do that, of course, but let's leave it a few lectures. Let's carry on doing the cabinets on this side. We've got a lovely, great big larder cabinets but on this side, and we've got a cabinet for storage boxes, and we've got one as a wine rack, and we've got one for sort of, let's say, brooms and mops and vacuum cleaners and all that kind of stuff. Yeah, let's make a start in the next lecture on doing the last of the cabinets on this side. We're making some great progress here, everyone. So I hope you're enjoying the course so far. And yeah, let's pick this up in the next lecture. Thanks very much. I'll see you in the next one. Bye bye, Fino. 29. Lecture 28 Tall Cabinets Part 1: Hello, and welcome now to Lecture 28. And in this lecture, yeah, let's have a go at doing our wall cabinets. Sorry, our tall cabinets that'll go along here and then return along this wall here with our larders and, yeah, wine rack and sort of storage along this side be quite a lot going on. Yes it's given a year. We'll take quite a few lectures, 'cause there is quite a lot of work involved with these, but don't worry. We'll get through it. It'll be good fun. Okay, so where do we start? Let's bring stuff back. I really need to see this door, so let's go ahead and bring this door back in. And I need the roof structure back in as well so we can figure out where the cabinet is going to start in relation to this pillar. Um, And now, what else should we do? Let's go ahead and compress the wall cabinets in the base cabinets. Let's select the file and create a new file in there. Let's double click on it, and let's call it the Tall cabinets. There we go. Hit Enter and leave that selected. Okay, so what's next? Let's grab this panel here. And let's go ahead and right click and set the origin to the geometry. And let's go ahead and press Shift D and Y and bring a copy out like this. Excuse me. And we'll bring that a little bit more until it's just up to the hinge. So blenders slowing down on me. It's kind of stalling. So I'm going to press Shift B and kind of just grab that panel, and now blender will reset me back up to speed again. And I'll just move this over. I need to leave that hinge exposed. But that's kind of what I'm thinking something like that. Alright, so I'll press Shift again and Y, bring another copy over like this. I'm going to rotate that in the Z, so I'll press Z one, eight, zero, and Enter and take that over as well to there like that and kind of figure out where I want that. I think somewhere like that is about right. Alright, let's select these two and the walls and maybe this panel and this face frame maybe, and then the door and then the frame. So we got we want selected. We have that. I think that's everything. Let's go ahead and hit the forward slash key to isolate those objects, so we know what we're doing. Let's press Control three now to get this in the orthographic view. And let's press SD and let's go into WIF. Let's have a look at maybe this one here and whole shift and this one and see how they're looking floor level wise. And actually, they're looking really good. They're working fine there. So I think now let's go ahead and tap into Edit mode with those, and let's grab those vertices and go ahead and bring those up like this. And kind of that will do for a second about there. Okay, let's pan around on this. And let's go back to solid mode for a moment. And let's tap out of Odom mode, maybe just grab this one here now, and let's reset the origin to the geometry, and let's go ahead and press Shift D and Y and bring a copy out like this. And now let's rotate it on the X axis. So let's press RX 90, but that's rotated it the wrong way. So before I click off, I'm just going to hit the negative key, and there it flipped it over. Alright, so let's go now and press Control three so that we can get this in the side view again. And let's go into wireframe again and bring this over and put this in position where we want it, which I would say is about about like that. Okay, let's deselect that one for a minute and select this one and this one, let's tap back into Edy mode, but grab those vertices now and go ahead and take those up. So let's press G and Z and go ahead and take those up until they're just touching the other ones, the one we just set, that's fine. Let's deselect that one and select this one, tap into Edimod, grab it here, and take this end over now. And go ahead and put that one. Flush on the end, just like that. There we go. And I sort at the other end. Now, let's grab this one and go ahead and take this over now until it's kind of flush on the end, as well. There we go. That's cool. Okay, let's tap out of Edit mode with that. Okay, let's go back to solid mode, let's see what we're doing next. Let's grab this panel here and let's press Shift D and Y and bring a copy over here like this. Let's press seven to set it from above for a moment and take that over to our vertical beam. To about there, I would say So we're kind of creating the space here for our first cabinet. That's what we're kind of doing now. So let's tap into Edit mode with this one. And let's press and go into wireframe. Let's grab the top vertices, and let's press Control three and see this from the side. And now let's go ahead and take that up until it's level with the window, I would say, is about right. Let's just take that there like that. Okay, that's cool. That's great. What's next? Let's go back to solid mode for a moment and see what we've got and figure out what we want to do next. I think the next thing I want to do is I need a plenth. I'm going to hit the forward slash to bring everything back. I want this plenth here. Well, I want a copy of it. Let's go ahead and press Shift D and Y and bring a copy across now like this. We'll just put that roughly in position for now just to get a height assessment of that length. I think we'll probably need to take that back a little bit more about there like that. Okay, why not while we're here, actually, we'll sort the size out in that blenth. We might as well. So let's press Control three, let's press E and go into wireframe mode on that, let's tap into Edit mode. And let's go ahead and grab the vertices there and take those into position. Put those there like that. And let's do the same with these ones and bring that over now and kind of put that in position as well, which I think is about there, I think. Let's have a look again. That's it there like that. Okay, let's tap out of Edit mode with that, and let's go back to solid mode again and see what we've got and see what's working for us. I think the next thing we should do is go ahead and bring in a plane. Let's do that. So let's go ahead and press Shift A and mesh, and let's bring in a plane. We'll bring that up a bit on the z axis and bring it over a little bit, and let's go ahead and rotate that in the Y. So Y, nine, zero, and Okay, so let's isolate objects again. So we've got our plane, and I want this one and this one, this one, and this one. I think that's all I need at this stage. Oh, we might as well bring this one, as well for the ride. So with those selected, let's go ahead and isolate that. All right, so let's press Control three again to see it in the side view and the orthographic view. Let's grab this and let's go into wireframe and let's tap into Eddy mode. And let's go ahead and grab these vertices here now and go ahead and bring those into position, which is up to that side panel there like that. Let's bring that in closer. There we go. That's cool. And let's do the same on the other side. Let's grab these now and take this over until this is level with the other panel or flush to the other panel. Which will find the position is there like that. Okay, let's do the bottom vertices next, so we'll bring those up until they're just below the level of the plinth. I'll say about there is where I want that. And, of course, the top, let's grab those and bring those up until they're level with this highest end panel here. So I'll go ahead and press G and Z and bring that down into position like that. There we go. That's. Okay, so I think the next thing I want to do is I want to bring the lower cabinets, the base cabinets back in again for visual reference. So let's tap out of Edit mode for a minute, and let's hit the forward slash key to bring everything back. And let's go back into solid mode again. We'll grab this one here, and let's go ahead and grab this one, this one, this one, and the plane, of course. And then this panel here. Is there anything else we need? I don't think so. I think that's it. So we'll hit the forward slash key again. Let's grab this one now, and let's press seven, and let's go into wireframe. And let's go ahead and bring that back like this and drop this into position where we want it, which is, I would say, about there like that. Okay, so let's grab this one now and tap into edit mode with it and press two so we can select edges. And let's select this edge here. And let's go ahead and press Control R and put a loop it and maybe bring this loop over to about there, I would say, I'd say, that's about right. Okay, so let's grab this panel now, and let's press a loop. Let's put a loop on this, let's press control and put a loop in there, maybe bring it up a little bit, decide where we want it. And I would say it's about there. So I'm going to divide this tall door into two so that you can open the top door or the lower door on this. Alright, so now that we've done that, let's let's press three so we can select faces. And what shall we do next? Let's select this face and this face. Let's press Control three so we can see this from the orthographic view. And let's see what we've got here again, though. So we've got one, two, three, four, about 4.5 squares on that. So let's go ahead and press I and inset that one, two, three, four, 4.5 like that. Make sure that individual origins are selected, and there we go. That's cool. That's what we want. Okay, so what's the next one? Let's go ahead and select those again, actually. And let's create our door gap, and I'll just wing it this time. So I'll press I and inset and put that much gap in there like that. And then we have our final gap to do, which is this one here. Ah, I made a mistake there, I think. I don't think I Oh, I did select both. It's all good. Ignore me. I thought I hadn't selected that top one, so I hadn't got that gap there, but I'm all good. So let's count what we've got here. So we've got one, two, three. Let's call it four on that as well. So let's press I and go for one, two, three, and four. I'll go a little bit more for good luck. And there we go. That's. Alright, so what else do I want to do? I want to sort of maybe press two now and grab this edge here, right click and go ahead and dissolve that edge. I don't think I want that. Let's press three again so we can select edges, grab this one here. And I'm going to do a smaller inset on this. I'm gonna press I and just do an inset about about that much there, maybe a bit less, even. About that much, I think, is about right. Okay, so let's go back to solid mode for a moment and see what we're looking at. And let's try and figure out a bit of a plan. So I think these rails here are a little too big. It's the usual story where we need to reduce that rail. So maybe let's go ahead and do that next. So let's press one so we can see vertices. And let's press Control three to get that orthographic view. Let's grab these ones here and bring those down. Let's grab these ones here now. And bring those up to reduce that rail there like that. There we go. I think that's good. I think that's fine. So I think the next thing to do is to press three, and let's go ahead and hold Alt and select that loop there. And let's hold Shift and Alt and select that loop there. Let's right click and delete those faces. Okay, we can also select this face here, I think, and go ahead and press right click and go ahead and delete that face, as well. Okay, so now let's go ahead and press A for all. And let's go ahead and extrude that back in the X axis. Let's press E and X, and go ahead and take that back like this. Let's press seven to see this from the top. And let's go ahead and take this back until it's level with this one here. So we'll take that back to about there like that. That's fine. Okay, so I think the next thing to do is we can grab this one here and then this one here and go ahead and extrude those back in the X axis. So let's press E and X and go ahead and take that back a little bit. I like that. There we go. And then, we've got our first frames in position. That's cool. So I think the next thing we can do is let's bring everything back. Said the forward slash, and let's tap out of edit mode on that. And yeah, that's looking good. So we're going to create a sort of a rack in here for a wine. Um so, actually, I'll just bring this one over for a moment so you can see this, my little reference. So we've kind of created this one here, and we've got some of the work done for this over the door cabinet here, and then we've got this nice wine rack to put in, as well. So let's do those in the next lecture. Okay, so let's take this back out of the way again. And yeah, this is looking good, so let's go ahead and do a save so we'll press Controls. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 30. Lecture 29 Tall Cabinets Part 2: Okay. Hello, and welcome now to Lecture 29. And in this lecture, let's go ahead and do this cabinet to sort of the right of the door here. And let's go ahead and do our little cabinet over the top of the door, let's see if we can kind of get these two done. So where do we start with this? I think the first thing we can do is go ahead maybe and bring a plenth over. So let's make a copy of this plenth. Let's press Chef D and Y and bring a copy over like this. Let's go ahead and position that now. So let's press seven to see this from above. And let's go ahead and move that back in the Y axis. And let's do that properly. Let's have a look at that. So I'll press G and Y and bring this back a little bit about there like that. Okay, I think the next thing I want to do is bring the cursor over here. So let's press Shift S and cursor to the selected. And let's go ahead now and bring in a cube. Let's press Shift A and mesh and cube. Okay, let's go into wireframe mode so we can see our reference image. And we can kind of see this outline here represents the return units on this side. So let's see what we can do with this. Let's tap into Edit mode with a cube still selected, let's press one so we can select vertices, grab these ones here now, and pull these ones over. Whoops. Sorry, my fault. And let's go ahead and take these back into position. Take your time to do this nicely. About there like that. And let's do these ones now, let's take these ones back and put those about there like that. That's cool. Let's grab these ones now, and we can pull these over, as well. And we need to know where these ones are the panels, the cabinets on the left of the door, and they're just back around three quarters of a square. So let's do the same here. Let's press G and X and go ahead and take those back about three quarters of a square. So they're like that. Let's grab these ones at the back and pull these this way. And I'm not overly worried about the positions of these ones because they'll never, ever really be seen. Okay, let's press Control three now and see this from the side. Let's grab these vertices here and pull these up so that they're level with this cabinet. And you can see that black line going through. Let's just run it up to there, which is there like that. That's cool. Let's grab the lower vertices now and bring those up and bring those just below the length, just a little bit below about there. And there we go. That's cool. So let's go back into solid mode now for a moment, and let's tap out of edit mode. And let's create this little cabinet on here next. So let's grab this panel, and let's set the origin properly to the geometry to re center that. And now let's go ahead and press Shift A. Oh, sorry. Let's press Shift S and bring the cursor to the selected. There we go. Now, let's press Shift A, and let's go ahead and bring in a cube. All right, let's press seven to see this from above. And let's go ahead into wireframe. And let's tap into Edit mode with this, grab these vertices on the front and go ahead and pull those back like this and bring those level with this one here. So let's press G and X, and bring those so it's level with the other cabinet Au there like that. That's cool. Let's sort of back out next, maybe. Let's pull that in. And again, I'm not overly worried about the back. I'll put that somewhere like that. Select these two now and bring these into position. Which should be where the lines are densest around there should be good. Let's grab these ones now and pull these back. And again, put these where the lines are densest, which is about like that. Okay, let's press Control three so we can see this from the front. And let's grab these top vertices and bring these down like this, and check where these are. Let's press G and Z and bring this down into position. And let's bring the bottom ones now. Let's take those up on the z. And put those on top of the panel here. Just like There we go. That's cool. So I think I want to check that because it will be easy to be confused by all these edges that we have now. So I think I do want to check that this is looking good. So this is looking right here. This is looking nice and close. And it's looking good to the panel just above the door, and it's looking good here, too. I'm going to go back into solid though and just check this one last little time. Might be that it's a little bit out there, but that's right. The top little crown molding will hide that. And I think, overall, this is looking fine. I think I'm good with this. Okay, let's press three now so we can go ahead and select faces and select this face here. Let's press Control three on the numpad to get us the orthographic view and let it go back into wireframe. Okay, so the first thing we can do is inset it until we get to this line here to create our sort of out of frame. So let's press I and go ahead and inset that to something like that. Make sure individuals is on, and let's just check. I'll zoom out, and it's all good. And let's do the door gap now. So let's press I again and bring that in like this. And now let's press I again and bring this in to create the frame, the actual door frame itself. And there we go. That's cool. That's what we want. Okay, so let's go back into solid mode now. And what we can do next is go ahead and select that ring of faces there. Let's hold out and select that one. And this time, I'm just going to take it in, so I'll press E and X and go and take that in quite a ways back like that. And now let's grab this panel here and let's extrude that one back as well. Let's press E and X and go ahead and take that in as well to create this sort of the gap in the panel like. All right, that's that one done, really. So I think the only other thing we want to do is create a bevel on that. So let's tap out of edit mode, and the scale and the rotation are all good. So let's add our modifier. And let's put two zeros to the right at the decimal point, and let's add segments to four. And let's go ahead and apply that one. Oh, that's cool. So now we need to create the recess in this panel here. Let's select this one and tap into Edit mode. Let's select the face and let's press Control three so we can see this. And let's go into wireframe let's go ahead and inset this one as well. So let's press I and inset this one to about there like that. Make sure individuals is selected, and that's looking good. Now that we've done that, we can extrude that in. So let's press E and X and go ahead and take that back to about there like that. Okay, let's go back to solid mode now. And let's go ahead and put a bevel on this one. So let's tap out of edit mode. The rotation, the scales all git. Let's add modify, generate, and bevel. Let's add two zeros to the right to the decimal point. And let's increase our segments to a four, and there we go. That's cool. That's what we want. Let's go ahead and apply that bevel. And there we go. That's our little cabinets done, now. So in the next lecture, what we'll do is we'll start building our return cabinets now on this side here. Okay, thanks very much. Oh, let's do a save. I keep on for getting the save. Let's press Controls and do a save, and I'll see you in the next lecture. Bye bye for now. 31. Lecture 30 Tall Cabinets Part 3: Hello, and welcome now to what lecture are we on Lecture 30. Welcome to Lecture 30. And in this lecture, let's do the last of our cabinets. Let's see if we can do them in one lecture. So it's this return on this side here. But I'm going to try and do something I've not done before with you guys. So I'm going to bring in an image and set it into our Blender user interface so that we both can see what we're trying to do here. So let's try that. So I'm going to come to this corner here. You don't really need to follow me with this. It's up to you, but I'm going to bring this in so we've got a reference. We're just going to come to this corner here until I see this little cross up here, and then I'm going to left click and drag down to create an additional panel on this side. I go to compress stuff, so I'm going to kind of compress our outliner up a little bit like this and now compress this one here down a little bit to about. We just need really about that much of this one. So we got a nice big area here. Then I'm going to click on this, and I'm going to use the image editor. So now I need to bring an image in, so I'll click on Open, and I need to find the image that I'm looking for, and I am looking for UDM Course three. Sorry about this. Just give me a second. There it is. UDM Course three. Let's click on this. Kitchen T one and still renders. And I am looking for I think this is the one that I'm after. So I'll go ahead and open that image and bring it in here so we can all see now what we're trying to achieve with this little return here we've got quite a lot going on. We've got this area here that we have these what we call pocket doors and then this nice interior that'll be lit. And then we've got a nice tall cabinet here, and then we've got drawers on both sides, a full size drawer on top here, then two little and a little cabinet below with opening doors. Sorry, I lost my voice that for a second. Went a bit squeaky, excuse me. So yes, let's try and go a bit deeper. With these two doors here, Alright, let's see what we can do with this now. So where do we start? I think, first of all, let's grab an N panel. Let's grab this one. And let's go ahead and make a copy of that. So let's press Shift D and X, and let's bring a copy over. We can go ahead and rotate that, so let's press z nine, zero, enter. Let's hide stuff. I don't think we need the roof right now, so let's hide that. And let's press seven to see this from above. Maybe let's go into wireframe for a moment. And let's go ahead and bring this in like this, and let's take it up to the other cabinet so we can kind of get this set where we want it. So let's take this back in the Y axis like this. And I'll zoom in on this area here and I'm going to press G and X and bring this over till it's just touching the other one about like that. And now I'll take it back in the Y axis. I'll press G and Y and go ahead and take that back. And let's press G and X again. I'll take a second. Sort of get this way you want it, which to me, that's about right. They're just kissing on that corner. That's what I. Again, I'm not going to cut this back here just now. I'll leave this as it is to give us a little bit of scope to be able to adjust that if we want. And now I'll go ahead and bring this over in the X axis. Excuse me, that was my phone. They're just going off. Telling me it's time I should get some sleeper. So let's bring this over in the axis like this. And I'm going to leave a little bit of corner. I don't want it right up to the window reveal. So I'm going to leave, and I think about the Um, so I'm ignoring the outline this time. I'm sort of winging it. Again, you can, if you want. There's nothing stopping you. But I think I'm going to run it about there like that just to get a slight edge there. That's just purely personal preference. Okay, so we've got that in there like that now. So I think the next thing, let's bring in a plinth. Let's do that next. So we can grab this plinth here, and we can go ahead and press Shift D and X and bring this over and rotate it now. So let's press R, then Z, nine, zero, Enter. Let's press seven again to see this from above, and let's go ahead and take this one back now. Let's take this into the corner like this. And let's kind of set this where we think it should be. So I'll press G and X and take this over. And I think I'll take it back a little bit in the Y axis. Let's press G and Y now and go ahead and take this back to about there like that, I would say. We can tap into Edit mode, and we can grab this end now and we can take this over. And we can actually make this touch the other plinth. Like that. That's cool. I don't think I'll even bother shortening this side. I'll leave this plinth this way, just as it is, 'cause we'll never see anything different. Okay, so that's our plenthm position. We're looking good there. Let's go ahead and tap out of mode with that one. And now let's go ahead and bring in a plane. Let's press Shift A and mesh, and plane. Okay, let's press seven now to see this from above. And let's bring this over in the X. We'll bring this back in the Y. And I think even before I rotate this, I'm going to kind of set the width on this. So let's tap into Edit mode. Press one to select vertices, grab these ones here, and let's go ahead and take that back in the X axis. And let's zoom in on this and see what we're doing. So let's go ahead and press G and X and take this back. Take a sec just to get this right here. It's quite important. Press G and X and take this back the last little bit to about there like that. Let's do the same this side now. Let's take this one over. Add zoom in a little bit. And let's go ahead and press G&X and take this one over, like let's see where that is. And that's a bit too far. So I'll press G&X again and just take that back. And there we go. That's where I want that. Okay, so let's go ahead and maybe tap out of Eddy mode with that one, and let's press R and X and 90 to rotate it, and click enter. And now let's go ahead and take this back on the Y axis now until we are happy with this. So I'll zoom in on this corner, and I'll go ahead and press G and Y and bring this over until it's just in the corner now. Like that. Okay, let's have a look at what that's doing now with our end panel. And this is why I didn't sort of shorten this end panel. We can go ahead now and maybe just bring this forward a little bit to about there like that. And no one will ever know. Okay, so that's good. That's tidy. Let's go back to solid mode now and see what we've got. And let's maybe just grab the plinth, and then this panel on their own, and let's isolate those, so I'll hit the forward slash in the numpad, and I'll press Control O to see this from the back. And now let's go ahead and Woops. We just want this panel. Let's go ahead and take that down now. Until it's sitting on the plenth. So I'll press G and Z and go ahead and take that to a bed there like that. Okay, let's bring everything back again, so I'll hit forward slash. And now let's just grab maybe this one here and then this one here, and this panel here, and let's isolate those. And let's press Control one to see this from the back. And let's tap into Edit mode with this. Sorry, I just want this one, actually, tap into head mode with that, grab the vertices now and go ahead and take that up now until we're looking good, which is about about there like that, I think. Let's just check that again. Let's zoom in a little bit. And let's press G and Z and go ahead and take that up like this. That's cool. Let's have a look here, it's not quite right, but it's close enough for me because we will have like a crown molding on top of the kitchen, which will sort of hide details on the top. Okay, so that's cool. Let's hit the forward slash key and bring everything back and we can tap out of Edit mode for a moment now. And we can go ahead and fix the rotation on that. So let's press Control A, and apply rotation and scale. And I think the next thing I need is like a reference. So I think I'm going to make a copy of this cabinet and put it next to this so we can see where our lines need to be. So let's grab this one. And let's press Shift D and X and bring a copy out like this. Okay, I'm just going to grab this end panel and this and maybe the penth. And with those selected, I'm going to go ahead and isolate those, so I'll hit the forward slash key. And let's press seven now to see this from above. And let's bring this over in the Y axis. Let's rotate it. To about there like that. And bring this back like this and bring it over like this. Okay, let's press Control one to see this from the front. And yeah, that's working just fine. That gives us an idea of what we can see. Maybe you would bring this one, actually, to this other side here like this. That might be a bit easier. Okay, so now we can actually start creating our insets. So what we've got, like I said, we've got this relatively wide door here. Then we've got two wide doors on top, and then we've got a bank of drawers either side, and then a drawer in the center and two small ones there. So let's see if we can kind of set the loops out on this to do this. So let's tap into Edit mode with this one, and let's press two so we can select edges. And first of all, let's grab this edge here and press controller. And let's bring this loop over to, I would say, A there would do? I would say that's about nice. I think the next one I want to put in is maybe on this edge. So let's press Control R. And let's bring this one down to about there like that. And that one there is going to be that sort of line there, just there. Okay, so where's next? We can go ahead and put a line in here now, I think. Let's press Control R on that. And let's put a line in the middle there like that. There we go. So that's our two doors there and then a door there and a door there, that's all good. So now we need to sort of divide this area up. So I'll select this edge here now and I'll press Controller. And I'm going to put four, I think, loops three loops in there, creating four sets of faces in each of these. Okay, so now what do we do? So we need to create now these doors here. Let's select this edge here and let's press Control. I'll leave that one just where it is in the center of that one. Let's do the same here now. I'll press ControlR and then we'll just leave that just where it lies like that. Okay, we need to delete a few now, this line here, and this line here, I don't think we want those, so let's right click on that and go ahead and dissolve those. And what else don't we want? I don't think I want that one there, so I'll go ahead and dissolve that one. And I don't think I want this one, this one, this one or this one, so I'll right click, and I'll go ahead and dissolve those. We've got our four drawers there, our four draws there, a large draw there, two doors, two doors. Let's get rid of these now. This one, this one, and this one, let's right click and go ahead and dissolve those edges as well. Okay, let's press three now so we can select faces. And let's grab maybe just these large doors now first. Let's zoom in in this corner here. And let's go ahead and press I and go ahead and inset on this until we're roughly about there like that, I would say. Make sure that individuals is on on our inset faces. And let's have a look at that and see how we're running. And yeah, that's what we want. That's just fine. Okay, let's create our door gap next here. So let's go ahead and press I and just bring this in a little bit to create our door gaps like that. Let's press I again now, and bring this in another time now to create the frames for our doors. And I'll leave that about there like that. Let's have a look at these, and, yeah, that's all working out fine. We can actually get rid of some edges now, so I'll press two and then we can actually get rid of this one and this one and this one and this one, this one, and this one, as well, this one, we don't need this one, this one, this one. Let's right click and go ahead and dissolve those edges. Now let's press three so we can select faces. Grab this one, this one, this one, this one, this one, this one, this one, this one, this one, this one, and this one. And I think with those selected again, I think we're just going to make this slightly narrower frame. So I'll go ahead and press I and go ahead and inset these I think to around there like that. Let's just zoom out. We can always press Control Z and back that move off. Um, yeah, I'll make that slightly bigger. I hit Control z and take that move back and then I'll press I again and inset this and make this a tiny bit bigger. To I think about there. Is that looking good? Yeah, I think that's looking better. But keep them selected, and let's go ahead and press I again now, and inset for a gap. And there we go. That's our gap. That. Okay, is there anything else? These two here now. Let's Whoops sorry. Press Control one, bring that back. These two here now, let's go ahead and inset this now to create our final frame. So let's press I and inset these to create the frame of our doors. And let's have a look at that. And, yeah, that's fine. That's just what I want. That's cool. Okay, this is cool. This is looking good. So I think the next thing we can do is go ahead and delete our door gap edges. So I'll press Alt, and I'll select this one here, and this may take a minute. I'll get all of these, and I'll press Shift and Alt and select this one and this one here, Shift and lt. And let's select this one, shift and Alt And actually, Blender has slowed down, so I'm just going to press Shift B and go ahead and just grab a selection square around there and it's carry on. So I'll press Shift and Alt and grab this one. Shift and Alt and grab this one. And we're nearly there. Shift Alt, and then this one. Shift and Alt, and then this one. Is this the last one? Or if you got one more, that's all of them, I think. Okay, don't let them go after all that work. So let's right click and go ahead and delete those faces. There we go. That's cool. Dan Okay, so the next thing I want to do is go ahead and separate these doors here from the rest of everything because we're going to treat these doors completely as a separate entity because we need those doors to be able to open and close. So let's select this face here, whole shift, and select this one and then press Control plus to grab everything there. And let's press P and separate by selection. And there we go. And those ones have gone out of Edit mode now because they're no longer part of this group. We can tap out of Edit mode for a moment and select maybe this panel, and let's go ahead and tap back into Edit Mode and I think we're close, but we're not quite there. So I think I'm going to pick the rest of this up in the next lecture. There's no point rushing it. So, yeah. I'll see you in the next lecture when we'll go ahead and finish this cabinet here. Okay, thanks very much. Oh, let's do a save. Let's press Control and save our progress. And I'll see you in the next lecture. Bye bye for now. 32. Lecture 31 Tall Cabinets Part 4: Hello, and welcome now to Lecture 31. And in this lecture, let's go ahead and see if we can finish off our nice set of cabinets here. So let's go ahead and tap into Edit mode with them. And I've noticed in between lectures that in our reference image here, we don't have a vertical rail running up here in the middle. So I think the first thing we need to do is go ahead and get rid of this. I'll show you how to do that. Let's press one so we can select vertices. And I want to show you how to merge vertices. We've not done this yet. So let's select these vertices here and hole shift and select this one. I want to merge those two together so two vertices become one. And I want that to happen in the center between these two vertices. So I'll go ahead and right click and I'll go ahead and merge vertices at center. It's that easy. Let's do the same at the bottom now. Let's select this one, hold shift and select this one. Let's go ahead and right click and merge vertices at center. There we go. Now, all we need to do is go ahead and select those edges and delete them. Let's select both of those. Right click and delete those edges. Grab this one as well, right click and delete that edge, too. There we go. So after I think we'll just go ahead and move these doors around after, adjust the vertices on these to get these right. But I think that's fine there for a moment. Okay, so the next thing I want to go ahead and do is dissolve some more edges. So I'll grab maybe this one and then this one, this one, and this one. And this one, this one, this one, this one, and this one. And let's go ahead and right click and dissolve those edges. And we can also maybe grab this one and this one, right click on those, and dissolve those edges. And we can also do this one and this one, maybe. Let's get rid of those. And there we go, I'll leave that just like that. Okay, so the next thing we want to do is extrude all of this back, so let's press A to select all. And let's press seven to see this from above. Let's press E and Y and go ahead and take this back like this. To about there like that, that'll be fine. And there we go. That's cool. That's looking good. So I think the next thing we can go ahead and do, maybe is select these panels. Sorry, no, it's just this one and this one and this one and this one. Let's grab those and let's go ahead and extrude those back now. So let's press E and Y and go ahead and take that back to get the panels in our doors. And there we go. That's cool. That's looking good. Okay, let's tap out of Edit mode with that and take a look at it, and all's looking good. So let's go ahead and put a modifier on this now a bevel modifier, so let's select it. Add modifier and generate and bevel. Okay, let's add our standard two zeros to the right of the decimal point. Click Enter, and let's put four segments on this and go ahead and. Okay, that's looking good. So I think the next thing I want to do, we can actually go ahead and delete this one. Now, we're done with that. We need to look at these doors next, I think. So let's maybe select these doors. Let's press Control one to get the orthographic view on this. And let's tap into Eddy mode with those, and let's press one for vertices. And let's maybe go to wire frame. And let's grab these vertices here now. And we can use this line here as a bit of a reference. So let's press G&X and bring that in now to about there like that. Let's grab these other vertices here now, grab these ones, and let's go ahead and press G and X again and go ahead and pull this in to set the gap between the doors at something like that. There we go. That's cool. We can go back to solid mode again now, there. And we can press three so we can select faces, and we can press A for all. We can press seven to see this from above. Let's go into wire frame again. And let's go ahead and extrude that back in the Y. So I'll press E and Y and go ahead and bring that back to give the doors some thickness. And I'll go about there like that. That's cool. Okay, let's go back to solid again and let's select the doors. And let's go ahead and press E and Y and go ahead and take that in to create the panels in our doors. There we go. That's cool. That's looking good. So let's tap out of ddiode with that now, and let's check the scale and the scales all good. So let's add our modifier to this. The bevel modifier, of course, add two zeros to the right of the decimal point. And let's turn the segments up to four, and let's go ahead and apply that, and there we go. Okay, I think I'm going to bring everything back to see how this looks, so I'll hit the forward slash keel and pad and see how it's all looking. And yeah, that's looking great. I think we're pretty much all done with that. So that's the last of our cabinets built. So over the next couple of lectures, we'll start just adding all the extras to these. We'll put a crown molding at the top, and we'll put the shelves in these and the wine rack in this. And on this side, we'll go ahead and put splash backs in and crown moldings and, like, a little molding on the base of these wall cabinets. I think there's one more thing we can do and make sure that everything here is in the tall cabinet group. So let's grab these. So that one that's in the wall cabinets. Let's grab this and then this, and then the Penth as well. And I'll grab some more of these. Actually, I'll grab all of these. And let's just go ahead and press M and go into cabinets and go to tall cabinets. Some of those might have already been in tall cabinets, by selecting all of them, we just make sure. Okay, we can compress the tall cabinet file now. And we can bring some stuff back. We can bring back the island and then the roof structure. And we could open up the walls file, maybe, and we could bring back some other stuff, small windows, roof lights, and let's see. Let's even bring back the roof panels now as well, and let's see how we're looking. Whoops. And there we go. I think that's looking good. Um, so in the next lectures, let's just carry on adding the details to all of this. Alright, let's press Control so we can get a save done. And I'll see you in the next lecture. Bye bye for now. 33. Lecture 32 Crown Mouldings: Hello, and welcome now to Lecture 32. And in this lecture, what I want to do is in our picture here, you can just see this up here, which is the I call it the crown molding. So we're going to go ahead and do this. So we're going to put this on this unit here, and then the return along here and then back to the wall here. And, of course, then we'll go ahead and put it on our wall units either side of our chimney, along here and along here. And yeah, it'll really make our units pop, add that extra detail on it. So let's go ahead and do that. So I think, first of all, I only really need this cabinet for a moment. So I'm going to go ahead and select those two, and I'll hit the forward slash on the numpad. And I think the next thing I want to do is make sure that when I bring this item in, it comes in where I want it. So I'm going to select this panel here. Going to tap into Edit mode. Gonna press two so we can select edges. And I'll go ahead and grab that edge there. Now I want a cursor to pop there. So I'm going to press Shift S and cursor to the selected. Okay, we can tap out of Edit mode. So now when we bring our next item in, it will be located perfectly right. Okay, so let's go ahead and bring our vitamins. I'm going to bring in a cylinder. So let's press Shift A and mesh, and let's bring in a cylinder. Let's look at our vertices count, and I think I'm happy with 32. I'll leave it just like that. So let's grab it now and rotate it in the Y axis, let's press Y, nine, zero, enter. There we go. And let's go hit, excuse me. Let's go ahead and hit S and scale down. We'll just bring it down to something like that for the moment. We'll take some time to scale it properly after. Okay, so now that we've got that there like that, I think, really the only thing I want to see now is this cylinder. So I'm going to hit the forward slash, and that will bring everything back. And then I'll just hit it again now, and we'll just have that cylinder isolated. Okay, let's press Control three, so we see this nicely from the side, and let's go into wireframe, and let's tap into Edit mode. Let's press one so we can see vertices. And I'm going to go ahead and take half of it away straightaway. So I'll select half the vertices. I'll right click and go ahead and delete those vertices. I'm going to do the same again. I'm going to grab all of those vertices now, right click and go ahead and delete vertices. So that's all we've got left. Now I'm going to show you something new. I'm going to show you extruding vertices, which is no different really to extruding a solid object. But yeah I'm going to show you how just extruding vertices. So let's select these ones here now, and let's bruss E and then z and then go ahead and take that up to, I'll say something like that. There we go. That's looking good. I'll press E and Z and go in the Y and go ahead and take that over something like that. Now let's take it up. E and Z and go ahead and take it up like this, now E and Y and go ahead and pull it back like this. So something like that for a moment. Let's do the same here now, so I'll grab this one. I'm going to go ahead and press E. And Y and go ahead and take that back something like this. And now let's take it down, let's press E and Z and take it down like this. And now let's go ahead and press E and Y and go ahead and take it back, something like this. And now let's take it up so it meets this one. So let's press E and Z and go ahead and pull that up to something like that. Okay, let's go ahead and bring that up some more like this until it's just about on the same level. So something like here. Let's grab these ones now and go ahead and bring that over something like there like that, real close. Let's even bring that even a little bit closer, something like that. That's fine. Okay, let's pan round this so we can see this from kind of this angle. Now at the moment, we've got two vertices here and we've got two vertices here. So I want to merge these vertices so we've got a nice we've got a nice complete object. So let's grab these ones here now. Let's right click and merge vertices at the center. And there we go. Do these ones, right click and merge vertices at center. Let's go back to solid mode now and have a look at this, and there we go. So that's looking really good now. I'm pleased with that. Let's press two so we can select edges. And let's grab all the edges on the end there like that and just press F and enclose it. There we go. Let's do the same on the opposite side here now. Let's grab these ones and press F and enclose that. Okay, so I think the next thing I want to do is apply some bevels to this on maybe these edges here. Let's tap out of Edit mode for a moment and just check it all. And let's go ahead and set this right. So let's press Control A and apply rotation and scale. Bring that back to no. Oh, that didn't work. Sorry. Try that again. Control A, and apply rotation scale. I hadn't selected the object at all. There we go. So let's tap back into Edit mode with this now, and let's select This one, this one, this one, this one, this one, and this one. Okay, let's go ahead and press Control B, and let's bevel those edges. Scroll the mouse way a little bit to get some vertices in those, and bring that to something like that there maybe is a nice place to be. Yeah, that's looking good. Maybe I'll press three now and just grab this edge and just bring that edge over a little bit more like this. And yeah, I'm pleased with that. Okay, so let's tap out of di mode with that. We can go ahead and do a shade oro smooth on that as well. And yeah, that's looking like a nice crown molding now. Okay, let's hit the forward slash key and bring everything back. And obviously, we need to reduce the size on that. We'll do that now, but let's go ahead and hide stuff. So I don't think for a moment we want let's just hide the roof anyway, and then let's go ahead and hide the whole roof and doors thing. We'll go ahead and compress that. And let's go ahead and hide the roof structure as well, though. All right, so let's go ahead and find the right size for this now. So we'll go ahead and bring this in a little bit like this into position. And maybe let's go ahead and try scaling this down now, so we'll press S. And just bring this down in size like this. And then let's press Control three to see this from the side. And let's go ahead and take this back into position and take it up. And let's zoom out and just consider the size of the crown molding that we've put there. And I don't think that's bad at all. I think I'm liking that as an overall size for our crown molding. Or do I want to go slightly big? I might just scale it up a little bit, sell pres ps and go ahead and scale it up a little bit more, maybe take it over a little bit more like this. And let's have a look at that. And yeah, I think I'll leave that just like that. That's looking good to me. So let's press seven now so we see this from above. And let's press se go into Y frame, and let's tap into Eddy mode with it. We'll press one so we can select vertices. Let's grab these ones here now and go ahead and pull those over way past the end of the cabinet like that. Grab these ones now and do the same with these. Go ahead and pull these way past the end of the cabinet like that. Let's go ahead and tap out of Edit mode with that. Maybe let's select this one now. And it's in the toll cabinet, so let's open up this file and find it. So let's double click on it, and let's go ahead and rename this. Let's name it maybe crown molding because I'm going to make a lot of copies of this. So with that in mind, I might as well name it so that all copies come in with a name as well. There we go. That's cool. Okay, so now that I've done that, let's go ahead and make a copy of that. So let's press Chef D and Y and go ahead and bring a copy over like this. Now let's rotate it. So I'll go ahead and rotate that 90 degrees. So let's press Z, 90, Enter. Let's press seven again to see it from above and go ahead and bring this over like this. And I think I need to see this properly now. So I'm gonna go back into solid mode, and let's position this carefully, now. So I will put that. I'm thinking something like that. I think that's okay. I want to go over a little bit more, maybe. Ah, that's where I want it. Sorry. That's where I want it. Something like that. That's better. Let's have a look at that at the end. And, yeah, that's fine. I'll leave that just like that. So now we can grab this one, and let's go ahead and make a copy again. So let's press CFD and X and bring another copy over like this. Let's go ahead and take some time to sort of set this one where we want it. So I'll take this over like this and let's have a look at that. And let's look at it from this angle and see that it's kind of equal. And no, I think that needs to come over a little bit more, so I'll press G and X and go ahead and just bring that over a little bit more. Oops, something like that is better. Okay, so let's take that over now in the Y axis. We'll pull this over like this, put that there like that. And now let's grab this one, and let's make a copy of this one. So let's press Shift D and Y and go ahead and bring a copy over like this. And let's go ahead and locate this now on this end panel. So let's press G and Y and go ahead and pull this over until we get something like that. Alright, let's go ahead and take that back now in the X axis position that's something like that. I think the only other thing I want to do is make some more copies of this to be able to put under these units. So I'll grab maybe this one here now, and I'll go ahead and press Shift D and Y and bring another copy over here like this. And I'll just put that there for a moment. Alright, so now for something else, we need to sort of finish off these corners, don't we? We need to put a nice neat corner on this. So we're going to do something we call a mitre, which is an angle joint across. So let's do that next. So let's press Shift A, and let's bring in a plane. And I'm going to booley and modify these corners. I think it's the nicest way and the quick way to achieve a nice, perfect, clean mited corner. So now that we've got that in there, let's press Y, 90, Enter. Let's keep that edge selected. Let's press seven to see this from the orthographic view. Let's let's go ahead and press this head and go into wire frame with it. And let's go ahead and bring this over into the corner like this. And let's set this into the corner of the molding, which I think is something like there. And now let's go ahead and rotate that soil press R and go ahead and rotate that round. So it could actually hold down control and snap that to 45 degrees. And there we go, 45 degrees is working out nicely on that corner like that. Okay, so I think let's go ahead and have a look at that in solid mode again. So let's click over and see what that looks like. And yeah, that's looking good to me. Okay, so let's select maybe this one first. Let's check the scale and the rotation and the scale out. So let's press Control A and apply rotation and scale. Let's go ahead and add a Boolean modifier to this. And let's grab our eyedropper. And just click on the plane like this. And it's gone ahead and deleted the wrong side of this piece. So that tells us that normals on this plane are the wrong way round. So let's select this and tap into Eddy mode, and everything's already selected on that. So let's go ahead and press Alt N and flip the normals on that plane, and there we go. That's worked out nicely. Let's tap out of Edi mode with that. Now, select this one again, and let's go ahead and apply the apply the boolean on that. There we go. Now we know now that the normals are wrong on this panel. If we go ahead and apply the Boole into this one, picking this, let's go ahead and going to go ahead and cut the wrong side. So let's grab this straightaway, tap into Edit mode. Let's press Alt N and flip the normals on this plane. Okay, we can tap out mode with that one now, grab this one, add a Boole, and modify it, grab our little eyedropper and go ahead and click on this one like this. And that's worked nicely. Let's go ahead and apply that, and there we go. Okay, let's grab this plane now and take this over in the X axis like this. Let's press seven to see this from above. And let's go ahead and pull this into position on this internal corner. Which is something like that. I think that'll be fine. Alright, so let's do that again now. So let's select our piece here. Let's add our Boolean modifier. And let's grab our little eyedropper and go ahead and click on the plane like that. We need to flip the normals on that, so let's go ahead and select this now, tap into Edit mode, press ldn and go ahead and flip the normals on that. And now that's worked out well for us. Let's tap out of Edit mode with that, select this one and go ahead and apply our Boolean Modifier. Let's flip the normals back on this one. So let's tap into Eddy mode, press Alt N, and go ahead and flip the normals on that. Tap out of Edi mode with that, select this one now, add a Boolean modifier to it, and grab a little eyedropper, just click on this like this. And there we go. Let's go ahead and apply that one. And let's go ahead and select this one now and take this one over again. So let's press seven to see this from above. And let's go ahead and move that over in the Y axis to this corner. And let's try and figure out where the corner is. It looks like it's about there, I think, which means that this one's come up short on mine, so I can deal with that. I'll tap into Edom moode. I'll press his head to make sure that I select all the vertices, grab all those ones on the end there, and pull that over like that. Okay, let's tap out of Edomode again. Let's go back to solid. And let's have a look, make sure that's working. And it is, that's fine. So let's select this panel now. Let's add Boolean modifier. Grab a little eyedropper like this and it's the wrong way round. Let's select this one, tap into Edit mode, press Alt N and flip the normals, and there we go. Tap out of Edit mode with that. Go ahead and select this one again and go ahead and apply our Boolean modifier. Okay, we just got one more to do. So let's select this plane again now and flip the normals on that. Edit mode, Alt N, flip and tap back out of Edit mode. Select our piece here, let's add our Boolean modifier. Grab a little dropper and click on it like this and go ahead and apply that one. And there we go. That's done. Okay, let's go ahead and get this, and we can delete that now. We're done with that. And that is looking really good. That's looking really nice on there. That's really finish that off. So is there anything else we want to do? We could go ahead and bring the walls back now, maybe. So where's the walls gone? Right here, let's turn these walls back on, and there we go. So let's select this one, maybe, and holes shift and select this one. Let's press seven to see it from above. Let's go ahead and tap into Edi mode. And let's go ahead and go into wireframe. Let's maybe grab these vertices here now and go ahead and pull those back over to the wall. And let's pull those back into position. And the corner is I would say, let's do this one next. Let's grab this one. And let's go ahead take that over like this and drop this one in position, as well. And put that there. So like I said, usually the corner is where the densest lines are, so I'll go ahead and put that about there like that. Okay, what else can we Oh, we've got this one here now, so let's maybe tap out of Edit mode for a moment and grab this one, and we can go ahead and take this one over and put this one in position now, maybe something like this. We'll sort out the position in a moment. But we can go ahead now and make a copy of that even. So let's go ahead and press Chef D and X, and bring another copy over like this. M Okay, so let's have both of these selected. And let's go back into solid mode. And let's go ahead and have a look at these. Let's zoom in on those. I need to press Shift B. And just go ahead and zoom in on that to re center Blender. Okay, the first thing I can see is obviously they need rotating. So let's go ahead and rotate both of them at the same time. So if we just press Z one, eight, zero, enter. And let's go ahead and just shift those back to the middle, something like that. Okay, let's go ahead and pull those over in the Y axis and set this out where we want it. And I will put that about there like that. That'll be fine with me. Let's press seven to see this from above. And let's go ahead and pull that over just like that. Okay, let's just select one now, then, maybe, and let's tap into Eddy mode with that. And let's go back into Y and let's go ahead and grab these and take these over now to the wall. Which is about like that. Let's do the same on the other side now. Grab these once. And let's go ahead and take those over now to something like that. Let's do the other side now. Let's grab Oh, let's tap out of Edo mode with the last one and grab this one. Tap back into Eddy mode, grab the ends here and go ahead and pull those over into position now, something like that. That's cool. Last one, let's do this one now. Let's grab just here and go ahead and pull these into the corner now, something like that. There we go. Okay, let's go ahead and look at our handiwork. So let's tap out of Eddy mode, and let's go back to solid. And there we go. There's all our crown moldings in place. Quite a long lecture. But I hope you agree that that's really, really helped these cabinets, make them look really quite good. Okay, so on the next lecture, I think what we'll do is we'll go ahead and put the shelves in this one and then the wine rack in this one. Let's go ahead and do a save now, so let's press Control. And that was quite a long lecture. I must admit, but I think we've made some good progress. And the next one, I'll make sure it's a little bit shorter, I promise. Okay, so I think I'm going to go have a cup of tea. I'll see you in the next lecture. Thanks very much. Bye bye. But 34. Lecture 33 Wine Rack: Hello, and welcome now to Lecture what are we on Lecture 33. And in this lecture, I want to put the shelves in in this open cabinet here, and I want to have a go at doing this wine rack in this opening here. So let's do this. So I think the first thing we can do, maybe, is just grab this open cabinet and let's go ahead and isolate that. So let's hit the forward slash, and there we go. Let's straightaway, let's tap into Edi mode with that. And let's press three so we can select faces. Grab this face here and press Shift D and X and bring a copy forward like this. Now I want to separate that from the rest of this one. So let's press P and separate by selection. There we go. We can tap out of Edit mode now, select this one. I want to isolate that, so we'll press the forward slash to bring everything back and just press it again, and there we go. Alright, so the next thing you want to do is divide or put loops on this. So let's go ahead and tap into Edit mode on that. And let's press two for edges. Grab this edge here and press ControlR and let's scroll the mouse wheel to put divisions in that. And how many have I got there? I've got four loops there, which is creating five spaces, and I'll go with that. I'll go ahead and left click again and left click one more time, and I'll accept that. Okay, so I think the next thing I'm going to do is press Control three so we get a nice orthographic view of this. And let's go ahead and tap out of edit mode with that. Let's set the origin to the object. So right click and set the origin to the geometry. And now let's press shifts and let's bring the cursor to the selected, as well. Let's bring in a cube now to make our shelves. So let's press Shift A and mesh, and let's bring in a cube. I think now we need to go into wireframe. So let's press and go into wireframe, and let's tap into Ed mode with our cube. And let's press one to select vertices and grab these ones here now and go ahead and pull those over to the edge of our panel like this. Just like that. And now let's grab these ones, too, and bring these ones over now to something like that. Put that in position just on the edge of there like that. Okay, we can grab these ones now, and we can go ahead and bring those up and go ahead and drop that below the line that we just created with the loops to about there. Let's grab the top two now and then bring those down now to create something like that. I think I'll center that as nicely as I can on the loop. And there we go. That's something like that. Okay, let's press one now to see this from the side. And I think we actually need to bring back the cabinet now. So I'll hit the forward slash to bring everything back. And let's tap out edit mode for a moment. And let's select the cabinet now. There's the cabinet. That's the three things I want. So I'll hit the forward slash to isolate those again. And let's press one now to see it like this. And the next thing I want to do is just tap into Edit mode with this. And let's grab these vertices here now and pull those back inside the cabinet like this and pull the back ones inside the cabinet as well like this. Okay, let's go back to solid mode now so we can see what we're doing and see if we're happy. And yeah, I think, do I want to bring that panel forward slightly? No, I think I'll leave that just where it is, actually. So I think the next thing I want to do is I'm going to press two so I can select edges, and I'll select this edge and then this edge, and I'll press Control B, and let's go ahead and bevel those edges. To get something like that. So we get a nice bevel on those edges. And now let's select those edges again, this one, this one, this one and this one. And now let's press Control B again just to soften those edges we've just created. We'll put another bevel on them. I'll roll the mouse wheel and just create something like that I'm happy with. And there we go. That's that panel pretty much done. Alright, now what? Let's press Control three again so we can see this from the front. And let's go ahead into wireframe. So I'll press and there we go our own wireframe. Now we can see those loops we created again in this panel. So now that I've done that, I can maybe just select it and put the origin to the geometry. And now that we've done that, we can go ahead and press Shift D and Z and bring a copy down like this. There we go. That's good. And let's do that again. We'll press Shift D, and Z and bring another one down and send to that toi loop. And one more time, Shift D, and Z and bring that one down. So you can kind of see what we were doing by creating that separate panel and then adding loops to it. We use those loops to be able to know exactly how to divide those shelves up evenly in that space. Okay, now that we've done that, we can actually now we can grab this panel, and we can go ahead and delete it. We're done with that. And let's go ahead and bring everything back on that. Maybe for a moment, let's go back to solid mode and have a look at our handiwork. And yeah, that worked out really well. Okay, so now let's go ahead and grab this one, and let's go ahead and isolate this one. And let's kind of do the same thing again. So I think, first of all, let's create an inner nice looking frame in this. So I think, first of all, let's get the cursor where we want it. So let's tap into Edit mode. Let's press three for faces, grab this face, this face, and then this face. Now let's press Shift and cursor to the selected. And that's brought the cursor in kind of in the middle of that space. Okay, let's tap out of Edit mode for a moment, and let's press Control three to get us the orthographic view. And let's bring in a cube. So let's press Shift A and cube. And let's tap into edit mode with that. And let's also go wire frame and let's press one for vertices. Grab these vertices here, now, and bring those over close to where we want it like that. Grab these ones now and take those over into position, and let's get closer so we can see what we're doing and drop that kind of on the edge here, no like this. Okay, now let's grab the other vertices and let's kind of set the width of this panel, and I'll make this panel kind of this kind of width, something like that, I'd say. So about two cubes, looking at the grid behind. Okay, let's grab these lower vertices now, and let's take those down to the bottom and set those up in the right place. So I'll bring that down and just drop that there like that. And let's do the same at the top here now. I'll grab these ones and take this one up like this. And let's go ahead and set this one, too. And we'll kind of put that one just there like that. Okay, let's press one now to see this from the side, and let's set this out next. Let's grab these and take these inside the cabinet about the back like this. Let's grab the front ones now, and let's set these nicely. Let's take those flush with the rest of the cabinet on the front edge, so we'll put something there like that. All right, so that's our first panel created. So let's go back to solid mode. Let's tap out of Eda mode, and let's look at the scale and that's all good. Let's go ahead and add a bevel modifier to this. And let's do our standard two zeros to the right, like enter, and let's put four segments on this. And I don't think I'm gonna apply this one just yet because we're going to make lots of copies. So let's go ahead now and press Control three again, select this one. And now let's press Oh, let's actually set the origin to the geometry. And now let's press A to D and Y and bring a copy over to the opposite side like this. And let's go ahead and set that one where we want. Pull that over a bit more and just put this in position there like that. That's go. Okay, this time, let's press Shifty because we'll scale this one and rotate it. And let's go ahead and press Y and bring a copy over to the middle like this. And now let's rotate it. So let's press r90, enter, and let's tap into Edo moode with this one. Let's go into wireframe with it. Grab these ones here now and pull them over into position now. Like this. There we go. That's cool. And let's do the same on the opposite side. Now, let's grab this one and bring this one over to the middle like this. Okay, let's just zoom in on that and see where it is, see if I'm happy, and I am. Okay, let's tap out of Edd mode with that. And now let's go ahead and press Alt D and Z and pull a copy down like this. And now let's put this copy at the bottom. Set this in position. There we go. That's cool. Let's take the other one here. Let's take that one to the top. And put that one in position as well. And that's good. So the next thing we need to do is do that control loop trick again so that we can divide this space up equally using Blenders loop tool to divide nicely. So let's grab this one now, and let's make a copy of this one. So let's press Shift D. And Y and bring this one over like this. And let's go ahead now, and let's go back to solid mode for a moment. And let's tap into Edit mode with this one and press two so we can select edges. Grab this edge here, and let's press Controller and put a loop in. And there we go. Let's scroll the mousewheel few times and divide this space up. Is that nice like that? Let's have a look. So I'll press Control three to see this from the face. So I've got 11 cuts in there. Do I want to go 12? Let's have a look. And I will leave that at 12. I think that's working nicely for me. Okay, so let's tap out like that and tap out of Eta mode. And I think the next thing we can do is select this panel, maybe this one here, and let's go ahead and isolate those. So I'll hit the forward slash key again, and there we go. And now let's press Control three to see this from the face. Okay, let's go to wireframe. And now let's grab this panel here and let's press Alt D and Z and go ahead and bring a copy down to the middle of here like this. And now let's go ahead and do that. So let's press Alt D again and let's press S and bring a second one down and center this one nicely to the middle of here like this. Let's zoom out now, and let's use the Shift R function to repeat that command. So hold down Shift and press R, and keep on pressing R until we've got down to the bottom to that last control loop, and there we are. Okay, we may need to just manually check these, so let's maybe grab this one now and just a little movement. We can deal with this. And here, too, just bring this one down a bit. And let's just centralize these a little more. Grab this one, bring that to the middle and this one, too. And this one. Just take a second just to centralize these up. And there we go. I think the rest I'm happy with. There we go. Alright, so now this panel, we can go ahead and delete. We're done with that one. And let's bring everything back. And let's go over to solid mode. And let's have a look at our handiwork. And, yeah, that's looking good. I think I'm happy with that. Yeah, that's looking good. Okay, so I think that's it for this lecture. We've done our wine rack here, and we've done our shelving in this open cabinet here. Alright, thanks very much. And I'll see you in the next lecture. Bye bye for now. But 35. Lecture 34 Splash Backs: Hello, and welcome now to Lecture 34. And in this lecture, let's have a go at doing our little splash backs on the back of our worktops here and a little down stand, which I'll go on the underside of our wall cabinets. Let's see if we can go through those. And we'll on these walls actually notch underneath our windows. So we'll make that little tweak, as well. Alright, so let's do this. So what shall we do first? I think, first of all, let's get the cursor reorientated. Let's just bring that to the middle of the room. So let's press this chefs, and let's bring cursor to world origin. And let's create a new folder for all these little ancillary bits. So we'll click on cabinets and let's hit our little Ad folder. Here it is cabinets five. Let's double click on it. And let's call this worktop upstans. There we go. And maybe as well, let's do one. We haven't done it, but maybe we should do one for the worktops as well. Let's go ahead and do that. So let's click on cabinets again, create a new folder, click on it, and let's just call this one worktops. There we go. Let's select this one and this one and this one. Let's press M, and let's go to cabinets, and let's drop them in the worktops file. There we go. We can compress that now. And let's click on the upstand ones again now so that the items we bring in drop into that file. And let's go ahead and press Shift A and mesh, and let's bring in a cube. Okay, so I think the first thing we're going to do is in the Y axis, let's make this, not very big. Let's make this about 20 millimeters around 2 centimeters. So 0.02 enter, and there we go, Let's just have a look at this from the side. See that's correct. Shall we make it a little bit thicker? Let's turn that two into a three. Let's do that. And there we go. And in the z, I'm going to make this 0.15 enter. And so that's about 15 Well, it is 15 centimeters high. And that's the size of our ups stands. Now, I'm happy with that. So I think all we really need for a moment, we can go ahead and reduce what you've got on our scene. We need this one and this one and the walls. And I think that's all we kind of need for the moment. So let's go ahead and isolate those. Let's grab this piece here now, and let's press seven. And let's take that back on the y axis like this and drop that into position like this. And let's go ahead and take that back a little bit more to something like that. Okay, let's fix the scale on that and then let's add a bevel modifier. So let's press Control A and apply rotation and scale. Let's add a modifier, generate and bevel. Let's add our two zeros, our standard two zeros. And let's turn our one into a two in this case. Enter and let's put the segments at four. And let's not apply that just yet. Okay, so now that we've done that, we can actually grab it again, and we can take a copy over to the opposite side. So let's press Shift D and X and take a copy over like this. And let's grab another copy now. So we'll press Shift and Y and bring a copy forward like this. Alright, let's grab this one here now, and let's rotate that 190 degrees. Enter, and let's take that back to the one. We're just roughly positioning them for a second. We're not sort of taking a lot of time to do this. We'll tweak them a bit more. Let's press G and X with this one now, and go ahead and take that one back like this. All right, so let's press Z now. And let's go into wireframe, and let's tap into edit mode with this one. Let's press one so we can select vertices, grab these ones, and just bring them forward. And I'll just stop it a little bit away from the edge of the worktop, maybe somewhere like there, I think. And let's grab the other side and take those back as well to something like this, I think. All right. So let's now maybe grab this one. Let's tap into Edi mode with this one. Let's grab this one and just pull this over into position now, like this. And we'll stop that there like that. Okay, and what do we want to do next? I think the next thing I want to do is add some loops to this. And we can do this from this angle, I think. And let's tap Edy mode with that one and grab this one now and tap into Edi mode. Let's grab that edge there. Whoops. And let's press Control and add two loops to this. There we go. That's cool. Let's grab these here now, and let's take these to the edge of the window like this. And let's do the same on the bottom one now. Let's grab this one and take this down now to the edge of the window like this. Okay, so what do we want to do next? I think I need another loop in there, so I'll just grab this edge here now and I'll press Control, and we'll put a loop in like this, as well. And I think now I want to go back to solid mode, so let's click on this. And let's go ahead and grab this edge here now. So I'll hold down Alt and select all of this. And let's go ahead and bring that loop until we can just about see it here on the window, like this. There we go. Okay, let's have a look at it here and see if that works. And that's good there. And let's have a look at it here and see how that looks. And maybe that one can come over a little bit, so I'll hold on to Walt and grab this one, maybe just pull that one over a little bit more to about like that. Let's just double check that one, actually. Just make sure it is good. And I'll hold I'll select it. And it's a tiny little bit. I'll just tweak it over there too about there like that. Okay, let's press three now. And let's select this face, and let's hole control and go ahead and select this one. So we've got all those faces selected. And let's press X and delete those faces. Okay, we're looking good. Select one, and we can select vertices, grab this one, and then this one, let's press F and fill that. And let's do the same on the opposite side now. Et's grab this one, and then this one. Let's press F and fill that. Let's press two so we can select edges, grab these edges here now, and let's press F and fill that. And let's see if Blenders trick will work for us. Let's go ahead and press F and F and it's filled it nice. All right, so we have our bevel modifier applied to that and where we have our little cutter around our window. Let's go ahead and bring everything back. I'll hit the forward slash key, and let's have a look at that and see how it looks. And of course, we can tap out of Edit mode for a moment now, and we can bring our soil board forward now until it's back in the correct position. So I'll just do this by eye, I think. Take it back a little bit in the X till we get it something like that. I think that's cool. Okay. Okay, so let's tap into Edimod with this sell n. And let's press three, so we can select faces. And it's a bit of a tricky one to get to. We might have to go wireframe, let's see if we can do it. I just want that one there, there we go. And let's go ahead and pull that back in the X axis until that white line disappears. And when it does, just pull it back again so that white line just about reappears. And there we go. That's our sell board done on that side. And, yeah, that's looking fine. Okay, so I think let's just check it here and see how this works. And we've got a little bit of tweaking to do here, so let's tap into Edo mode with this one. And let's press let's select the end here and just go ahead and pull that forward now like this and just let the white line just appear just like that. Alright, so let's do the same on this one, now. Et's tap out of Edo mode and grab this one, and let's just press G and X and bring this over like this. There we go. And let's go ahead and grab this end now. Let's tap into Edim mode with this one. Now, let's select the end here now, and let's go ahead and pull that to the wall Whoops. Find it again in a minute. There we go. Drop that in position. I like that, and that's fine. So I have noticed that I think my splash backs are actually far too low at the moment. We need to raise them up. So I'm just going to select that and maybe the worktop as well. And then the other two splashbs that one there, and then that one there, and maybe this worktop as well. And let's go ahead and isolate those. And let's press one so we can see this from the front view. Let's go ahead and just grab just the splash backs now. And let's go ahead and press G and then Z and go ahead and take them up until they're sitting in the right place. Let's take a look at that and see there. And yeah, that's fine just like that. Maybe just a tiny bit lower. I'll grab those again. And let's go ahead. Yeah, it's still a little bit high. Let's press G and Z. Take them down a tiny bit. And that's better just like that. Okay, let's bring everything back now. So I'll hit the forward slash, and there we go. And we've just got a slight problem here with this window now so we can deal with this. Let's go ahead and grab this one, tap into Edit mode, grab that one there, and let's go ahead and pull that one down until that's making sense again. And we'll kind of put that just like that. That's fine. All right, so we can tap out of Edit mode with that one now, and we can grab this one. And we can go ahead and press Shift D and X and bring one over now to the opposite side and put it in position on the other window now. And just check the position this as we go and just see if everything looks right. I'll zoom in a little bit on this and just have a look at that. Maybe just move it a tiny bit more, so I'll press G and X again and just put that in position. Whoops. A there like that. I think that's fine. So what else do we need to do? We need to work the sell now, so let's do that next. So let's go ahead and move that back now. Let's press G and X on that and go ahead and move that back until that's looking better, as well. Maybe a bit more. Let's press G and X, and we'll just make sure that's where we want it, which is about there, I'd say. So let's grab the internal face of that soil now, so let's tap into Edi mode, grab this one, and let's go ahead and pull that back now into position. There we go. That's cool. Okay, so we can tap out of Edit mode with that one now, and we're done with that. And so the next thing we want to do is go ahead and make a little downsnd here. And I think all I'm going to do is pinch this and reduce it in height. So I'll grab this one, and I'll press Shift D and Z and bring this up like this. Maybe let's just grab this cabinet and then this cabinet, and let's hit the forward slash and isolate those. Let's press seven and see that from above. And let's tap into Edit mode with. And find it. There it is. And maybe bring that forward and put that in position where we want it, which I would say is about there like that, a little bit back off the edge, but not much. Now, let's bring a copy of that to the other side. So let's press Shift D and X and bring a copy over now to this side like this. And let's check that out and see how it looks. I think I'll just tap into Edi mode with it. Press one for vertice selection. Grab the, and let's go ahead and pull that to the end like this. There we go. And let's do the same on the other side here. Let's grab this one and go ahead and pull that now to the end. Like that. There we go. Let's press one to see this from the front and see where these are. And let's tap out of Edit mode and grab both of these now. And let's go ahead and take these up. So let's press G and Z. Go ahead and take them up as a pair and place them just under the cabinets. So I'll zoom in. I'll press G and Z again and go ahead and carry on taking those until there's something like that. Okay, let's tap into Edit mode with both of those, and let's select all the lower vertices. And now let's figure out what height we want this. So let's press G and Z again and go ahead and bring that up and position those where we think the want them, which is about there like that, I'd say. Okay, let's go back to solid mode for a moment and see how that looks. And, yeah, that's looking fine to me. They're in position now. So let's go ahead and bring everything back, so I'll hit the forward slash. And I think that all that remains really is to go ahead and apply these bevel modifiers. And this one. Whoops. This one here now, let's apply that one. And did I do this one? Nope, let's do this one. And then this one, let's apply this. And then last but not least, is this one here. Let's go ahead and apply that. Okay, so that's our splash backs done, which adds a nice little detail. And our little down stands here on the bottom of our wall cabinets. So in the next lecture, what I want to do is I want to do this some trono maneuver at this. This is the problem. As a ing gets larger and more populated, gets a bit harder to move, but we'll get there. So I want to do the interior of this cabinet here, which you're still seeing in this image right here. So that's not too bad at all, but we'll do that in the next lecture. Okay, thanks very much. And I'll see you in the next one. Oh, I nearly forgot. Excuse me. Let's do a save. Let's press control. I wonder if I'll just simply remember to do a save in any lecture in this course. I hope maybe I should just write it somewhere in front of me. Remember, save. Remember, save. Okay, try and help me on the save bit, plea. Alright, so we're there on that. Thanks very much. And I'll see you in the next lecture. Bye bye, Fine. 36. Lecture 35 larder Cabinet Interior: Hello, and welcome now to Lecture. What are we on? Lecture 35. And in this lecture, I want to have a go at doing the interior of our larder cabinet, this nice wood grain interior that we see here. We also have like an LED light strip which goes around, but I think I'll leave that for this lecture. But let's go ahead and make our interior for this. Alright, so where are we going to start with this? I think the first thing we can go ahead and do is maybe isolate the doors in the cabinet. So let's hit the forward slash with those selected and go ahead and do that. And what do we want to do now? The next thing you want to do actually, I didn't want to do that. I'm sorry, guys. Let me just back up a little bit. So I'm gonna hit the forward slash and bring everything back. Sorry about that. I'm just gonna grab just the doors, and I'm going to go ahead and isolate those. Alright, so I want to show you a kind of a new trick. I want to show you how to rotate from a specified point on a door or how to make a component rotate from a point that you specify. So let's go ahead and do that. So first of all, we have the doors, and maybe let's go ahead and find those doors in the cabinets file. So they're not in the worked up upstands. And you can see here that it's highlighted in the tall cabinet. So let's open this and find it. And there it is. So let's rename this. And let's call this the arder doors. There we go. And what's Miss off Made. There we go. Eta. Now that I've done that, let's tap into Edit mode with these. And let's press three so we can select faces and grab one face. Hold down control and press Plus. Hold down plus as well until it expands until all faces are selected on that item. Once we've done that, let's press P, and let's separate by selection. And you can see now we have arder Doors, which is the one we created, and now we have arder doors 001. So that is this one because we've just separated it from this component. So that's good. Okay, let's press seven so we can see this from above now. And the next thing you want to do is move the cursor to this point here. So I want to sort of get the pivot point in the door where the hinge would naturally make the door pivot from, which is gonna be about there. So we could go down the route of tapping into Edit mode on this one, and we could, like, create a loop, which would go about here maybe, select the cent of that roop and press Shift S, and we could go cursor to that geometry point. Don't want to do all that. That's really long winded. So I'm going to show you a shortcut. What I'm going to do is hover the mouse exactly where I want this cursor to be. I'm going to hold down shift and collect the mouse. And now the cursor has popped to the point where I want the door to pivot. Now that I've done that, I need to go ahead and right click and go ahead and set the origins to the three Dcursor. And there we go. That's cool. So now we need to rotate this store exactly 90 degrees to the open position. So I could press R and I could go ahead and rotate like this, and I could bring this up to the 90 or I could just type in 90. I'm not going to do that. What I'm going to do is press R. Now I'm going to hold down Control, and Blender is going to snap in increments of five degrees. You can see on the top left corner there going up 75, 80, 85 and 90. And there we go. That's where the door needs to be. So let's go ahead and do the other door now. Let's grab this one here like this. We'll get the mouse exactly where we want it, which is about there, the cursor, I mean. I'll hold down Shift, right click and pop the cursor to the point where I want it to be. Let's go ahead and right click again now and set the origins to the three D cursor. And let's press, start rotating hole control and snap in increments of five degrees until we get 90. And there we go. That's cool. All right, so let's go ahead and bring the cabinet back now, so I'll hit the forward slash key once. And now let's go ahead and grab the cabinet and the doors, and let's go ahead and isolate those as well. So let's hit the forward slash, and there we go. So I think now the next thing I want to do is go ahead and move the cursor again. So I'll press one to see this from the orthographic view. In fact, I'll press Control one so with the right way round on the cabinet. And I'm going to sort of position the cursor kind of center like that. And I'm going to hold down Shift and press and just pop the cursor to that point. So let's go ahead and bring in a cube now. So let's press Shift A and mesh, and let's go ahead and bring in a cube like this. Let's scale that cube down like this until we get it something like that. And then let's go into edit mode. So let's hit the tab key, and let's press and go into wireframe. Let's press one so we get vertice selection. We'll grab maybe these vertices on the top, and let's go ahead and bring those to the inside face of the cabinet. So that is there like that. Let's do the same on the bottom. Let's grab these lower vertices now, and let's bring those down. And let's have a good look at this, get close to it. And then bring that down too, about there like that, I'd say. Okay, let's grab these vertices now, and let's bring these ones in like this and maybe grab these ones and then bring these in until we get kind of panel thickness, which I want, which is something like that. Alright, let's grab all now and then just bring this over. Kind of to about here like this. So let's just look at this image for a moment, and you can kind of see it that the interior cabinet, the interior lining on this side here and on the opposite side, there's a gap for the door to go into because we have this what you call a pocket door system. So the door rotates and then it slides back into the cabinet like that. So I'm going to need to leave a gap for that door to slide into. So I think that there is about right what I'm seeing there like that. Okay, so let's press seven so we can see this from the top now. And let's go ahead and take this back like this. And I'm going to put that about about there like that. And I think I'm happy to leave a little void in the back of the cabinet as well, so I'll leave that just like that. I'm wondering if this panel's a little bit too thick. I think I'll grab this side, and I'll just reduce the thickness of this door a little bit about there. Sorry, this interior lining to about there, I think. I think that's looking good. All right, so let's go ahead and tap out of Edit mode with that for a minute. And let's look at the scale and the rotation, and let's fix that. So let's press Control A and apply rotation and scale. And for a minute, let's go back into solid mode. And let's go ahead and apply a bevel to this. So I add modifier, generate and bevel, and let's add our two zeros to the right, and let's increase our segments two or four. And I won't apply that bevel modifier yet. I'll leave that as it is. Okay, so let's let's select this again, and now let's press seven and see this from above. And let's go into wire frame. And let's go ahead and set the origin to the geometry. And let's go ahead and make a copy of that. So I'll press Alt D and X and bring a copy now to the opposite side like this. And I'll go ahead. And position that where I think it should be, which is about like that. I think that's good. Okay, so now we need to rotate one of these and make a back panel. So I'll press Shift D in this case and X because we're going to change this panel, put this something like this, let's rotate it. So let's press r90, Enter, and let's go ahead and take this back and maybe take it over to one side or the other. So I'll go this way with it. And I'll go ahead and press G and X and take this over. There we go. And let's take it back notes. Let's press GMY and take it back, so it's flash. There we go. Let's go ahead and tap into Edimde with that. And let's select the vertices now, and let's go ahead and bring this over. This. Bring that to the other surface like this, and there we go. That's cool. Okay, so what do we want to do now? The next thing I want to do maybe is make another copy of this. So let's press Shift D and Y and bring a copy over now like this. Let's press three, so we see this from the side, and let's rotate that. So let's press R, 90, enter, and let's go ahead and take that one up now until it's flush with the top. Let me have a look at this. Let me just go back to solid mode for a moment. See what I'm seeing here. And yeah, let's press one. And let's go ahead and take that up. I was finding wireframe a little confusing there to figure out where to put this. So let's go ahead and bring that up and snap that in position like this. And let's do the same no. Let's press G. Sorry, let's press and let's do the same again. Let's press Shift E and Z and bring a copy note to the bottom side like this. And let's go ahead and drop that in position where we want it, which is about there like that. Okay, so we're looking good overall. So I think the next we want to do is grab maybe this one So the next thing you want to do is maybe grab this panel and this panel, and let's press seven to see this from above. And let's go into wire frame, and let's go ahead and tap into Edit mode with it. Let's grab the vertices for the top and bottom panel and go ahead and pull those back like this and drop those into position. Let's see where we are. Let's go ahead and press G and Y, pull those forward a little bit like this to about there. And let's do the same with a back. Now, let's pull those forward. And I'll press G and Y, find where I need to be, which is right there like that. And there we go. That's cool. Alright, let's go back to solid mode for a moment and see what we're doing and if we like it. And yeah, so far so good. Let's have a look at our interior and see what that looks like. And I think first thing we can do is go ahead and create another copy of this panel. So we'll tap out of Edit mode. And I'll just grab one of these, maybe this one. Let's press Control O to get a nice orthographic view of this. And let's go ahead and press Shift D and Z and bring a copy down now, like this. And put this, I would say, about there like that. Now that we've done that, let's make another copy of this. So let's press Shift D again and Z, and bring another copy up. Let's rotate that, so let's press r90, Enter. And let's bring that to roughly the center position, something like this. I'm intending to put a microwave here, and when I import the microwave, we won't actually model it. I don't know the exact size or proportions of that yet. So I'm going to kind of position these, but we may need to sort of move these again, so we'll just see. So let's press E and go into wireframe, and let's tap into edit mode with that. And maybe let's just grab these bottom vertices and bring these up like this. Drop that into position like that, and let's do the same at the top. Let's grab these ones and bring these down and drop those into position. Let's get closer and have a good look. Something like that. There we go. Okay, so the next thing we need to do is make another copy of that. So I'll tap out of Edit mode for a moment, and I'll press Shift D and X and go ahead and bring another copy out. And let's go ahead and rotate that. So I'll press r90, and Okay, so like I said, we may need to reposition this one, but we'll put it loosely where we want it, which is about there. And now let's go ahead and press G and X and bring that over and put it exactly where we want it. Which is about there. I let's tap into Edit mode with it, grab the vertices here and go ahead and bring those over into position like that. Okay, what else do we want to do? Let's make some copies for the opposite side now. So let's tap into Edit mode, and let's press Shift D and X and bring a copy over. And it won't be exact, so we'll need to sort of tweak this. So let's go ahead and drop into Edit mode again, grab these vertices and pull this over like this. And let's grab these ones now and go ahead and tidy these ones up too. Let's bring those over to about like that. There we go. Okay, let's go back into solid mode, and let's have a look at our work and see how we're doing. And I think it's looking good overall. I think the only thing I might have wanted to change is take the shelves back. So I think I'm going to go ahead and do that. So I'm gonna tap out of Edit mode and select all these objects, this one, this one, and this one, and go ahead and tap into Edit mode again with all of those. Let's press seven to see this from above, and let's go into wireframe let's grab these front vertices now, and let's go ahead and bring those back so that the interior shelving is back from the front edge of this lining, if you're getting me, so that we have space for the sort of the LED light in this. So I'll bring that back to about there, I think, should be good. Okay, so let's press it ahead and go back to solid, and let's have a look at that. And even I might take it back a little bit more, actually. To about there. I'm happy with that now. Let's tap out of Edit mode, and there we go. That's done. So that's for now. Our interior for our larder cabinet finished. Like I said, we may move things around a little bit, but for now, I think that's good enough. Okay, so let's do a save. Let's press Control S and go ahead and save our progress, and I'll see you in the next lecture. Thanks very much. Bye bye for now. 37. Lecture 36 Kitchen Sink: Hello, and welcome now to Lecture 36. And in this lecture, let's have a go at doing our kitchen sink, which goes just there in that space. And to do that, we're going to use the subision surface modifier. Can't remember it's the first time we've really used it, but, yeah, we're going to do a little bit with that now. So what are we going to do first? Let's maybe just select the worktop and the cabinet, and let's hit the forward slash to isolate those. And maybe now, let's just go ahead and tap into Edit mode with just the cabinet. Let's tap into Edit mode and let's press three, select that folks there and press Shift S, and cursor to the selected. There we go. Let's tap out of Edit mode with that. And let's go ahead and bring in a cube. So let's press Shift A and mesh and cube. And there we go. Let's hit S straightaway and scale that down to something like. And let's press Control three to see this in the orthographic view from the front. Okay, let's go on to Wireframe. Let's tap into edit mode with that one. And let's press one to select vertices, grab these ones down here, and let's pull those up into position so that they're sitting directly on the cabinet just like that. There we go. That's cool. Let's grab these top ones here, and they want to go just underneath the worktop. So I'm going to put it just there like that. Let's grab the side ones here now, and let's pull those over to the side here and drop those right there like that. And let's do the same now on the opposite side. Let's bring those over and put those just there like that. Let's press seven and see this from above. And let's figure out what we want to do with this now. Let's maybe grab these back vertices and bring those forward to, I would say, about there like that. So this line here is our worktop, and I want that to go underneath our worktop. So that's where I'll kind of put that. Then I'll grab the front ones, and I'm going to let those come forward a little bit to about there. So that's going to be sticking out further than the cabinets and the worktop. And that's kind of what I want with that. Alright, now what we want to do? Let's press three so we can select faces. Let's grab this top face here. Let's press seven to see it from above. Let's press I and go ahead and inset that and create a thickness fora basin, which is something like that, I would say. Now that we've got that, let's go ahead and extrude that, so let's press E, and, and go ahead and take that down to something like that. And there we go. Alright, let's go back into solid mode for a moment. And I did notice that one thing I've done, which I want to change on the worktop is I want to have the worktop come over the top of the basin, so it'll kind of stop just a little bit past the edge here of the basin. So let's go ahead and do that next. So let's tap out of Added mode with the basin, and let's grab the worktop, and let's press Control three to see it from here. And let's go into wireframe. Let's tap into Edit mode with it and press one to select vertices. Grab these ones here and go ahead and pull those two about there like that. Let's do the same this side. Let's pull these over here like this. And let's have a look at the back again. Let's press seven, and we can see the inside face there of the basin. So let's grab these back vertices now and go ahead and pull those forward to, something like that. Okay, let's tap out of edit mode with that now. And let's go back to solid mode. I'll press said and go solid, and there we go. That's kind of better. This is not looking very kitchen sinky shape, is it? So start using our subdivision surface modifier to get the shape that we want. Let's select the basin here, and let's hit the forward slash to bring everything back. And let's hit that button again to isolate. All right. So let's look at the scale. We can fix that. So let's press Control A and apply rotation and scale. And let's add modifier and generate. And for once, it's not a bevel. Let's grab the subdivision surface modifier. When I do this, get ready for a shock. Here we go. There we go. So we've kind of lost the shape completely for a moment, but that's alright. We'll get it back. So on the level viewport, let's put that up to two to increase the vertices counter a little and already, that's looking a little bit better, but obviously, definitely not what we want. Let's go ahead and turn this one on the On cage. And let's tap into Edit mode with that. Okay, so you can see what we've got. We don't really have at this stage, a lot of curves or vertices. And that's the reason why the subdivision surface modifiers had such a dramatic effect on this. So we're going to add more loops to this to get to the shape that we want. So let's do that. Let's press two. Let's select this edge here. Let's press Control, get a loop. Let's roll the mouse wheel to get maybe. Let's try four and click and add those. Let's do this same this way now. Let's grab this one, press controller, and let's put in maybe three loops this way. This. Okay. Now let's bring some loops in on this side. So let's select maybe this one, and let's press controller. Let's roll that mouse wheel to get maybe four. Let's drag those down a little bit to about there like that. And we're already starting to get something a bit better. I think let's bring some more loops in on the inside, so let's select that one there. Let's press controller, and let's have maybe three, and let's bring those down a little bit and put those there like that. Okay, we're getting better. We're definitely getting better. So I think the next thing I want to do is just we want a rounded top edge, but this is too rounded. So let's grab one there. Let's press Controller, and let's put maybe two in, and let's go ahead and apply those. And that's good. I think that's okay. Or should we have done three? No, I think I'm happy with two. So what do we think? Are we happy? Are we good? I think I want to sort of just make these edges a little bit squarer. So I'm gonna select maybe here, press controller. Put that loop in and just slide that over a little bit more to about there like that. Let's do this same this side. Let's grab here. Control. And let's go ahead and bring this over a little bit, as well to about there like that. Okay, so I think I want to bring everything back, so I'll hit the forward slash key. And let's see what we're getting as a basin. Whoops. And yeah, let's tap out of Ed mode with that for a moment. This is pretty much the shape that I wanted, really. That's kind of worked out nicely. Let's right click and apply a shade oro smooth on that. And yeah, that's a really nice shape, actually. That's the sort of the kitchen shape done. So this is what we would call in the UK as we call this a Belfast sink, which is a very traditional sink, I'm sure in other countries as well, but that's what we kind of call in the UK, a Belfast sink. So there we go. That's done. So let's go ahead and do a save so let's press Controls. And our next lecture, let's go ahead and start doing our Tapia, just on the worktop just coming up like this. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 38. Lecture 37 The Tap: Hello, and welcome now to Lecture 37. And in this lecture, since we've just done the sink, maybe we should go ahead and do the tap while we're still here, while we're still in the area, let's go ahead and do the tap. So between lectures, I've imported this image of sort of a kitchen tap, which kind of suits our project. I can't share this with you for copyright laws, sadly, but we can see what we're going to do here with this one. So where do we start? I think let's go ahead and create a sub file now for our taps. Let's select the cabinets here. Let's hit our Ad file button, and let's name this as the tab. Enter. And let's leave that selected. Okay, let's press Shift A, and let's start by bringing in a curve. And let's bring in a path curve. Let's work it that way. Let's select the path curve and the worktop and let's isolate. So let's hit the forward slash key. Let's rotate our path curve on 90 degrees and the Y axis, let's press IY 90, enter. And I don't think we've used a path curve before, so this is a great opportunity to learn something new. Let's press three and get this from the side view. And let's hit S on the path curve, and let's go ahead and scale this down and bring this up into position, something like this. Let's actually press one now, so we see this from the side. And with the path curve selected, let's go ahead and tap into Edit mode. Let's grab this top vertices here and let's bring this over. And you can see straight away we get this line here, and we get the orange line. So the orange line represents the vertices. And then the black line represents the finish shape that we will get from using the path curve in this way. So let's go ahead and bring this over, go ahead and drop this, something like that. Let's grab this one now. Go ahead and bring this one up and over like this. And maybe this one now, we'll pull this one back a little bit like this. Let's grab these two vertices. And with those selected, I want to add an extra vertices in the middle here to get more control over our curve, so I'll right click and subdivide. Let's pull that back again now. Sorry, just this one. Let's grab this one and pull this back to get our shape back again. Grab this one and kind of pull this down. Let's select that one and that one now, and then let's right click and subdivide there two. Grab this one and pull this one back into shape like this. This one, maybe pull that one down a little bit. And we're getting the kind of shape that I'm after now, actually. Maybe I'll grab all of these, pull them down a little bit like this, grab these, pull them out. And we're looking for a reasonably symmetrical, nice looking curved shape. And overall, I think I'm quite pleased with that, actually. I don't think I'll carry on messing around with that. And let's see what that looks like. And that looks pretty good overall. I'm going to go ahead and tap out of Edit mode for a moment with that and go ahead and take that back kind of more into position, which is there like that. And, yeah, I think I'm happy with that shape. I think I'm pleased with that. Once you've done that, with the curve selected, come on down here to geometry and click on it, and then just come on down to the bevel tab just here. Okay, start clicking on the depth, which will give us some shape now to our path curve. I'm going to go ahead and take that up to 0.1 and have a look at that. And, yeah, I think I'm happy with that. I think that's just maybe I'll take it a little bit more. Maybe up to 0.12. Is that too much? I think that's pretty good. I'm going to go ahead and press one just to see that nicely from the side and tap into Edit mode one more time, and just do a last little couple of tweaks on that. Maybe just pull that back a little bit like this. Maybe just grab this one and just pull that down and this one, as well. Just pull that over and just tweak the shape in any way that you think you should. And I think now I'm absolutely happy with that. I'll tap out of Edit mode, and I'll right click and I'll go ahead and convert that to Oh, hang on. I'm sorry. I'm getting ahead of myself. Let's just look at the resolution. Let's go ahead and up the resolution to about a six. We will increase the amount of finished vertices we'll see in this object when we convert it now to a mesh. So now, sorry about that. Let's right click and let's go ahead and convert that to mesh, and there we go. Let's tap into Edit mode and see how that looks, and now you can see the geometry within our main body of our tap. And that's looking good. I'm happy with that. We could actually go ahead and fill this here. So let's press two so we can select edges. Hold, grab the bottom edge there and just press F and fill that. Okay, so now what? Let's tap out of edit mode with that for a moment. I want to get the cursor now at the base of this. So maybe let's just go ahead and isolate that. So I'll hit the forward slash. I'll bring everything back. Then I'll hit the forward slash again, and we'll get that et's tap into Edit mode with it again. Let's hold select the bottom here like this now. Let's press F and fill that. And now while we're here, let's press Shift S and cursor to the selected, and there we go. Let's tap out of Edit mode with that, and let's bring everything back again. And I think the next thing we can do actually, let's just grab the worktop and the tap now, let's isolate again. We don't need everything. Let's go ahead and bring in another cylinder. Let's create this area here. So let's go ahead and press Shift A and mesh and cylinder. I think I'll leave this on 32 vertices. That's kind of my favorite number with the cylinders. And I'll hit S, and I'll go ahead and bring this down like this. And I'll carry on scaling that down until I'm getting this kind of diameter. So I'll hit S again and scale this down to something like that. Let's press Control three to see this from the side nicely now. And let's go ahead and pull this up to something like that. Let's see this from the side now, actually, let's press three. I'm sorry, let's press one. And let's see that that's looking good, and that's fine. I just wanted to make sure that this isn't starting to interact with a curved area, it's not. Maybe I'll take it up a little bit more to about there. Now I'll tap back into Edit mode, and let's go into wireframe. And let's press one for vertices, grab these ones here and go ahead and take that down. And we'll put that now, I would say about there like that. Okay, so you see here with our image, we've got this sort of other area here, this like ring. So let's see if we can create that next. So let's press two so we can select edges, select one of our vertical edges, and let's press Control and let's bring a loop in and set that where we want to. So I think it's about there like that. Okay, once we've done that, let's press three so we can select faces. Hold Alt, come to the edge here of a face and go ahead and click, holding Alt at the same time. Let's extrude that and scale it up. So let's press E and S. But I don't want to scale it up just yet, because if I go ahead and scale it up on all three axis, the X, the Y and the Z, it's going to kind of rise as well. It's going to come up in the z axis. I don't want to do that. I just want it to scale in the X and the Y. So what we're going to do is we're going to press Shift Z to omit scaling in the z axis. And now we'll go ahead and pull that out and create our little area there that we're seeing our little ring area. And there we go, that's cool. Okay, let's go back to solid mode now for a moment. Let's go ahead and tap out of Edit mode with that one. Okay, so now let's create another cylinder for this thing here. Let's do that next. So let's go ahead and press Shift A and mesh and cylinder. Let's leave it at 32 and just hit S and scale this down. And let's go ahead and bring this up a little bit on the z, and let's rotate that on the X. So let's press RX 90, Enter. So I want to scale this down until we kind of get this effect. So the diameter of this one needs to be less than this one. So let's hit S and scale this down until we get something like that. Pull it over the Yaxis until it looks like that. And that's the effect that we're getting. Okay, let's tap into Edit mode with this one, and let's press three, so we select faces. Grab this one here and maybe just pull it over a little bit more to something like that. Let's press E and Y and just pull out another extrusion like that. And now let's press E and Y again and pull out another extrusion like that. Let's have a look at that and see how it looks. And yeah, that looks fine. Okay, so let's press old Snow, select one of the edges whilst being able to select surfaces and grab that like that. Now let's press E, and let's scale down a little bit. I'll S and go ahead and scale that down to get a little groove detail now like that, and that's good. Alright, what's next? Let's do this bit here now next, I think. So let's press, let's press three to see this from the side. And let's press Shift A, and let's go ahead and bring in another cylinder. Let's scale this down. Bring this over and put this up, and let's scale down some more until we get something like that, maybe even a little smaller than that, something like that. Well, kind of centralize this on this area and just bring it down into the surface like this. And now let's go ahead and tap into Edit mode with this one. Let's make sure we've got surface selection on. Let's grab this surface. And let's go ahead and pull that up a little bit like this. And now let's go ahead and press E and pull it up again in the Z axis like this. That's coal. Okay, let's hold Alt and select an edge here to select all those surfaces. And now we're going to do a scale again, but again, we're going to make sure we're not scaling in the. So let's press E and S and then shift Z to emit the z axis scale, and then go ahead and pull that out to get this kind of effect like that. There we go. That's cool. That's kind of it. We just need to finish this stuff off now. Okay, let's apply some scales on these. Let's have a look. Let's fix this one. So let's press Control A and apply rotation and scale. Let's grab this one, press Control A, and apply rotation and scale, and this one, Control A, and apply rotation and scale. Alright, so let's bevel some edges on this, but I don't think I'm going to use the bevel modify it because I want more control over the bevels this time. So I'll select this one. I'll tap into Edit mode. And let's press two so we can select edges. Hold Alt and select that edge there. Press Control B, and let's go ahead and bevel this edge. I'll roll a mouse wheel to get some extra vertices in this, and I'll leave that just like that, I think. Let's do the bottom one now, here. Let's hold Alt and select this one. It'll shift and Alt and select this one. Let's press Control B. And let's go and bevel these as well. And I won't do much here. I'll just babe put something like that in place, I think. And there we go. That's cool. Let's tap out of Edit mode with that one, and let's do a shade auto smooth. And there we go. That's cool. Let's do this one next. Let's select this one, tap into Edit mode with it. Let's hold Alt and select this edge here. Let's press Control B and bevel this edge. And I'll put something like that on there, and I'll go ahead and leave this on three segments. Okay, let's do this one now. So let's hold Alt and select this one, Shift Alt and select this one. Let's press Control B and go ahead and bevel these. And we'll put those something like that. Let's tap out of Edit mode with that, and let's go ahead and do a shade Ato smooth. And there we go. That's cool. Okay, so we've got the last one to do now. So let's go ahead and do that. Let's select this one. Let's tap into Edit mode with it. Let's hold Alt and select this top edge here, and let's press Control B and go ahead and bevel this. And there we go, that's cool. And let's do the bottom one's known. Let's hold Alt and select this edge, hold Shift and Alt, and select this edge. Let's press Control B, and let's go ahead and bevel these just a little bit to something like that. Let's tap out of Edit mode with that one now, and let's go ahead and do a shade ato smooth on. There we go. That's cool. I am thinking actually, I think I want two of these on this one. I'm just going to do a mirror copy with this. Let's select this object and this object and let's join those together. Let's press Control J and join those into one object. Now with those selected, let's right click and go ahead and set the origin to the three D cursor. Select it again, press Shift D, right click twice, and go ahead and mirror in the Y axis. There we go. That's looking good. Let's go ahead and bring everything back now, so I'll hit the forward slash and let's have a look at all this. And that's looking really good. I'm wondering if I want to scale it up a little bit. I think I will, so I'll grab, and that, and I'll hit S and just scale this up a little bit more to something like that. And now, of course, I'll just bring that up on the z axis until that's sitting in position. I'm happy with that. That's looking really good. That's a nice looking tab. Okay, so let's go ahead and do a Save. Let's press Control. And I'll see you in the next lecture. Thanks very much. Bye bye, Fine. 39. Lecture 38 The Oven Part 1: Hello, and welcome now to Lecture 38. And in this lecture, let's go ahead and make a start on our cooker, which is going to go right here in the chimney just here. I've been looking forward to this because I think we can do a really nice job of this. So I've chosen this kind of cooker, which is quite a traditional cooker. We call them gas. So you traditionally find these lots of old farmhouses and stuff like that. Um, and they'd always run on coal and log. But these days, I think some of them run or they have the option to run electricity or gas. But traditionally, they'd run on coal and log. So, yeah, this is what we're going to try and do over the next few lectures. Maybe it might take maybe three or four lectures. We won't rush this, and we'll go through it and enjoy it as we go. But, yeah, we can give this a shot, definitely. So I've done a little bit of digging on the Internet, and these are 150 centimeters wide, and I think we just need to sort of guesstimate the height and sort of the depth. We'll do. So let's go ahead and make a start. So, again, I don't think we need everything that we see here right now. We just need mainly the chimney. Ah, and the chimneys currently locked. So I'll come over to the outline. And on the chimney here, I'll go ahead and unlock that. So I'll select the chimney and the walls. And is there anything else we need I think that's it for now. So once we've got those two items, let's go and hit the forward slash key, and there we go. So let's bring the cursor to the origin. So let's press Shift and cursor to the world origin. And I think before we go any further, let's go ahead and make a folder for this. So I'll compress the cabinets and the walls and windows, and I'll just click on scene collection. And I'm going to bring in a completely separate file for this. So let's hit our little ad file icon. Double click on it, and call this the Cooker. There we go. And here's enter. Let's leave it highlighted, of course. And I think the first thing I want to do is we're going to have a raised area inside the chimney here, which will probably be slate. So that'll be like a remnant of the old fireplace, the old hearthstone. So let's put that in first. So let's press chef and mesh, and let's bring in a cube. Let's press seven to see this from above, and let's go into wireframe. And let's go ahead and take that back into position like this. Okay, so let's tap into Edit mode with it and press one so we can select vertices, grab these back ones here and bring those into position like that. Grab the front ones, and I'll bring those too about there like that. So they will protrude slightly out of the hearth. Let's grab these ones now, and let's take those over into position. Let's find that position, and it's about like that. And let's go ahead and do the same on the opposite side. Let's grab these and bring these over now and drop those, as well. About there like that. Let's press one to see this from the front now and let's set the thickness of the stone. Let's grab the lower ones and bring those up. And let's put those in position about there like that. And let's grab the upper vertices and bring those down to create a thickness of the hearthstone of about that much, I would say. Okay, so let's tap Edit mode with that. And we can go back to solid mode for a moment. And let's go ahead and do a bevel modifier on that. So let's select the item, check the scale. That's all good. Go to our bevel modifier list, add modifier, generate and bevel. Let's go ahead and add our two zeros to the right to the decimal point. And let's go ahead and turn our one into Oh, let's make it a three, Enter and see how that looks. Let's increase our segments to a four. And yeah, I think I'm happy with that, so I'll go ahead and apply that one. There we go. We can do a shade or so smooth on that as well. And there we go. That's good. Okay, so I think the first thing I want to do on the on the oven is work on this little thing on the bottom here, this black thing, which we're going to call the plinth. Well, that's kind of what I'm going to call it. So let's bring that in first. And I'm going to make that around 7 centimeters high, 70 millimeters, 7 centimeters. We're gonna make it about that. So let's press Shift A, and let's bring in a cube. Okay, so let's look at the cube here in our transforms tab and let's work this in the dimensions. So in the X axis, like I said, we're going to make this 150 centimeters wide, so let's click on this one, and let's make this 1.5 and click Enter. In the Y axis, let's try making it around 80 centimeters. So let's dilute that. Let's press 0.8 and enter. And I think in the Z axis, let's go make this 0.07, which is about 7 centimeters. So 0.07 enter, and there we go. Let's press one, so we see this from the front. And let's go ahead and raise that up until it's sitting on our hearthstone, which is about there. I'll go ahead and take that up. So there's a slight gap between them just to create a little bit a shadow and a little bit of depth. Let's see. Best press seven, so we see this from above now. And let's go into wireframe and let's pull this back into position where we want it. So I think about there like that would be good. Okay, so what's next? I think the next thing I want to do is, let's go back to solid mode, and let's look at the scale. Let's fix that. Fly rotation and scale. Okay, so now that we've done that, I think next thing to do is go ahead and make a copy of this. So let's press Shift and Z, and take a copy up the way for a moment like that. Okay, so the next thing I want to do is looking at our plinth here. There's a slight gap between the plinth and the main sort of blue body bit of the oven. So let's see if we can create a little detail for that. So let's just tap into Edi mode with it. Let's press three and select that face. Let's press I and go ahead and insert that like this. And just put that about there like that. And now let's go ahead and extrude that up in the Z, so let's press E and Z and go ahead and take that up just a little bit to about there like that, I'd say. Alright. That's cool. Let's tap out of demone with that and look at this scale, and it's all good. So let's add a bevel modifier to that. And let's add two zeros to the right to the decimal point. And let's go ahead and turn our one into maybe let's look at a three and see how that looks. Increase our segments to a four, and maybe I'll bring that down to a two. Let's try that. And, yeah, I think that's better. Okay, so I'll go ahead and apply that. I think I'm happy with that plenth now. And now let's go ahead and look at this one, which will be the sort of the main body of the oven. Let's zoom out on our picture a bit so we can see what we're doing. And let's go ahead and look at the dimensions of this. So we're 1.5 meters by it's 0.8 meters in the Y axis. So in the Z axis, let's make this around 0.8, I think. Let's try that. 0.8 and enter. So that's 80 centimeters. Okay, so let's press one to see this from the front, and let's go ahead and bring this down the Z axis. So I'll press G and Z and go ahead and bring this down now to about there like that. I think I would like to bring the island back just to sort of get a reference of how this is looking next to our island. Is it working out about the same height? So let's go ahead and hit the forward slash key to bring everything back. Let's press one again and let's check it against our island. And I think it is working out because we are below the height of our island, and that's kind of my target to be level with it. But if you look at the oven, the next bit to do is this sort of area here, this black area, so we'll be doing that and making that about the same height so that it works out a bit level with the island in the end. So I think that's working out overall. Let's grab our oven again, let's grab this cube, and now this one. And let's hit the forward slash and isolate those again. And I think the next thing to do is grab this one. And let's press Shift and Z and go ahead and bring that copy up like this. And in the z axis on this one, let's fix the scale on this. Let's press Control A and apply rotation and scale. And let's go ahead and add a zero to the right at the decimal point, click Enter. And now it is just 8 centimeters deep. And yeah, that's kind of what I want. So let's press one to see this from the front again. And let's go ahead and bring this down into position now. Something like that. Okay, so it's not looking much like an oven yet, but I think we've got this sort of we've blocked it out. We've got our sort of three main components blocked out now. So in the next lecture, we'll go ahead and we'll start adding some more details. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 40. Lecture 39 The Oven Part 2: Hello, and welcome now to Lecture 39. And yeah, I mean, let's just pick up our oven where we left it, and let's carry on with that. And we've got this image here, and I want to work on this toppit in this lecture, this area here. This is what I'm thinking. So let me just drag in my PURFbard, my mood board. And so this is the image we're seeing here in Blender. And I've got this one as well, which is basically the same. But you can see we have a towel rail on the front here. And we have an upstand at the back, and we have this vent here as well. So let me just bring in or just show you this one. So this is the same kind of oven. It's just that this is a four door, and the one we're going to make is a six door. But we have these sort of studs here and we have the upstand at the back. We have this vent here, of course, we have the towel rail, and here on the front, there's an extra step out. And we've got quite a big sort of fillet, quite a big bevel on this front, so we need to work on that. So that's kind of what we'll do this lecture. I don't think we'll get it all done, but let's work on the details on this top piece. Okay, let's drag out the way my mood board. And let's see what we can do. So let's go ahead and isolate it. So we'll just grab it and we'll hit the forward slash key once, and I'll bring everything back. And let's just hit it again. So that we've got it on it. Alright, so I think the first thing I want to do is I'm thinking we're going to use the mirror modifier on this so that we only need to do half the work. So let's grab it and let's go ahead and press shifts and bring the cursor to the selected. So the cursor is dead center. Now that we've done that, let's have a look at the scale, and it's out. Let's press Control A and apply rotation and scale. Let's tap into Edit mode. And let's go ahead and press two so we can select edges, grab that edge there, and put a loop dead center. So if we just press Controller, don't move that loop and just click it in like this. And now let's go ahead and press three. Grab these faces here, too, and let's make sure we got all selected on the one side. That one and this one, there we go. And let's press X and go ahead and delete those faces. Okay, let's tap out of Edit mode. And now let's go ahead and apply the mirror modifier. So let's go to AD modifiers and generate and let's go to mirror Modifier just there like that. And it's in the X axis, and you can see the X axis is what we needed. So that's working out nicely. And the only other thing I want to do is make sure that clipping is on so that the center here it go ahead and a joins our work to the mirrored work. So if I tap into Edi mode with that, that means everything here on the center will go ahead and be joined. Alright, so what's next? I think, first of all, let's go ahead and have a look at that upstand on the back. So let's press two so we can select edges, grab this edge here, press controller, and go ahead and bring that back now to about there, like that. And let's press three, grab that there, and press E, and take that up to about there like that. That was easy. That was nice and easy. So I think the next thing I want to do is go ahead and work on this little extra bit here on the bottom. So let's grab that edge there. Let's press Controller. Put a loop in this way and pull that down now to about there like that. Okay, so let's select this face and then this face and then this face. And we're going to extrude and then we're going to scale. So I'll press E to extrude, and then I'll press S. Now I don't want to scale in the Z axis. I'm going to press Shift Z. So we're just extruding in the X and the Y and then go ahead and pull that out to get that sort of lip on the bottom edge like that. That's cool. What do we want to do? Maybe we pull this edge out here, just a little bit more. Grab that one and that one, and go ahead and pull that out a little bit more like that. There we go. Okay, next, I think, let's go ahead and work on our towel rail. So what shall we do? Let's press two, so we select edges. Grab this edge here. Let's press Control and put two loops in one and two. And with those still selected, let's press S and X and go and take those to the extense. Something like that there. So we have this one here now. And remember, whatever we create here will be created here, so it'll be double the thickness. So I think that's okay just where it is. And with this one here, now, let's grab this edge here, press Controller, and let's go ahead and bring another loop in now to about there like that. Okay, let's make some loops in the horizontal now. Let's press Control R, put two loops in there. And let's click once and click twice. And now let's scale those up in the z, so let's press S and Z and go ahead and take those up now, like this to about there like that. Alright. That's cool. Okay, so let's go ahead and select this face and this face, and let's go ahead and extrude those out. So I'll press E and pull those out now, like this. To about there, like that. I think that's good. Let's press two, and it's like this edge and this edge, and let's go ahead and bevel these edges next, grab this one and this one. And let's go ahead and press Control B and bevel these edges. Scroll the mouse wheel to get quite a few segments in there, and I think I'm happy with that now, like that. So I've got six segments. And we're looking good. What do we want to do next? I think the next thing I'm going to do is, let's go ahead and put some rounded shape to these. So I could go around and select all the edges here, but instead, let's select the faces. We'll grab this one, this one, and then this one. And with those selected, let's press two, so we're selecting edges instead. So now it'll select all those edges. Let's grab this one as well, and then this one, and then this one and this one. And with those edges selected, let's go ahead and press Control B and round this shape off next. Whoops, that's a bit much to about maybe I'll reduce the segments a little bit to about here. About there, I'd say, is about where I want it. And yeah, that's looking good. Okay, so I think the next thing we go ahead and do is round off the main edges. I'll select this one and this one and this one, and then this one, this one, this one, and this one. Is there any more that I want? I want this one, as well. And I want this one, this one, this one, this one, this one, and this one. And this one, this one, this one, one that one there, that one. We're nearly there, and this one and this one. I think those are the edges I want to do next. So let's go ahead and apply a bevel to those. Let's press Control B and bevel those. And the reason I'm not using the bevel modifier on this is because some of these bevels, I want varying angles on. So I want these rounded edges to be more than, let's say, the edges on the bottom. But I'll go ahead and put that something like Oops, that now like that. I'll scroll the mouse. We'll add some extra segments to it. And there we go. I think I'm happy with that. That's rounded off those edges. Let's have a look at the back. And yeah, I'm happy with that. Okay, let's maybe get rid of these ones here now. Let's dissolve those. And this is, again, a benefit of using the bevel modifier is we automatically this will happen the other side just the same. Let's maybe grab this one, as well. And with those selected, let's go ahead and right click and go ahead and dissolve those edges. We could actually just for neatness, get rid of those ones, too. And now let's select these edges. This one, this one, this one, this one, and this one. Let's select this one. Let's hold control and select this one, so we select all of that. And now let's just work our way along on that one as well. And then that one and that one. And this one, this one, and then this one. And is that it? Oh, we've got the back here, too, and then this one and then this one. And with those selected, let's go ahead and press Control B, and let's bevel those edges, as well. And I will put that somewhere like that, I think. Let's reduce our segments to about three, in this case. And there we go. This is looking quite good. I think this edge here now, we can press Z and we can go into wireframe for a moment. And we could press one to select vertices. Just grab these vertices and go ahead and pull those back to square up that end like that. That's fine. Okay, let's go back into solid mode now. And let's go ahead and tap out of Edd mode for a moment, and we could do a shade oro smooth on this just to see how it's all looking. And we could go over actually to our shade oro smooth. And it's just here and go ahead and crease the angle on this just to round off more faces. And there we go. That's working now. And there we go. That's pretty good, no. That's rounded it off nicely. Okay, so is that too much? I think maybe that's too much. Let's bring this back a little bit to about there. We'll leave that just like that. Okay, so what do we want to do now? Let's go ahead and do these circular studs that we're seeing in the corner? Let's do those next. So let's bring in a cylinder. Let's press Shift A and mesh, and let's go ahead and bring in a cylinder. Let's bring this down to maybe 28 and let's hit S and go ahead and scale this down now to something like that, and bring this over. Let's press seven to see this from above. Maybe scale this down a little bit more to something like that and bring that forward now. To about there. And let's press Shift and Y and go ahead and bring a copy back now, like this. Two, about there like that. Okay, let's press and it's going to Y frame, and let's grab both of these. Oops. I just want to grab this and this. And let's go ahead and take those up in the z axis. And let's press three so we can see this from the front so we can see the angle. And let's go ahead and maybe take this down a little bit now to about there, I would say. Okay, let's go back into solid mode for a moment. And let's see what we've got. And now let's go ahead and do a boolean with these. Let's grab them first and fix them. So let's press ControllA and apply rotation and scale. Let's do the same with this one, press ControllA and apply rotation and scale. And I can sort of tell by the color on these that the normals are off on these. So let's grab one, tap into Edit mode, press A for O. Let's press Alt N, and let's go ahead and flip the normals on that. And let's tap out of Edit mode with that one and do the same with this one. Grab this one, tap into Edit mode, press Alt N, and go ahead and flip the normals. Okay, let's tap out of Edit mode with that. And now let's try adding a bevel a boolean modifier. So let's grab this, modify, generate and go for the boolean. And let's now grab the little dropper and just click on this front cylinder like this. Okay, let's grab this one, and let's press H to hide this and just check that that's worked, and it has. And the next thing we can do is maybe press Old H and bring that back. Grab this one again, so it's highlighted the boolean modifier and go ahead and apply that. Okay, so let's do the back one now. Let's select this one, and let's add sorry. Let's select this one, sorry, and let's add the boolean modifier again. Let's grab our little eyedropper and just drop it onto this cylinder like this. And we could go ahead and hide this again, make sure that's worked, and it has. So we'll press old H and bring that back. Grab this again, and just go ahead and apply that boolean modifier. Okay, so the next thing I want to do, I noticed that I missed applying a bevel to this edge. So let's select this one, this one, and then this one, and just this one as well. But those selected, let's go ahead and press Control B and bevel that edge, just to get a slight bevel on the edge, just like that. That's cool. Okay, so the next thing I want to do is apply a bevel modifier to this. So let's go ahead and add modifier and bevel, and there we go. Let's go ahead and add our two zeros to the right at the decimal point. And let's increase the segments to three like that, and we'll go ahead and apply that. We're good with that. And we can do a shade oro smooth while we're here. Let's go ahead and do the same on the front now. Let's grab this one. Let's add modifiers, generate, and bevel, let's go ahead and add two zeros to the right the decimal point. Click Enter, and let's increase our segments to three and go ahead and apply that. Let's go ahead and do a shade or too smooth on that as well. And there we go. I think that's enough progress for this lecture. Let's go ahead and bring everything back. And, yeah, that's looking good. So I think in the next lecture, what we'll do is let's bring in my mood board for a moment. So we're going to go ahead and make this rail, which is not a big job. But then let's have a look at these two, these two cappings and the vent, as well on the top. We need to look at that. Okay, thanks very much. And I'll Oh, let's do a save. Let's press Control S, and let's do a save. Alright, thanks very much, and I'll see you in the next lecture. Bye bye for now. 41. Lecture 40 The Oven Part 3: Hello, and welcome now to Lecture 40. And in this lecture, let's carry on doing details on top of our oven here. So what I want to do this time are these sort of hot plate covers, these sort of circular pieces with sort of the chrome or polished stainless steel on top, and then the black lower level with the handle on the front. And yeah, let's just see what we can do with this. Okay, so I think all we really need is this one for a moment. So let's grab this and hit the forward slash key to isolate it. And the curse is in the ideal place. I think the next thing we're going to do is go ahead and bring in a cylinder. So let's press Shift A, and mesh and cylinder. And I think I'm gonna up the vertices to maybe a what shall I go? Maybe a 38. No, let's go 42. There we go. And let's S and go ahead and scale that down. And let's press seven to see this from above. And let's go ahead and scale it down a little bit more to something like this. Let's press three to see this from the front, and let's scale that down the z. Let's press S and Z and bring this down now to something like that, and then bring it up in position to something like that. Okay, so we've got our basic shape, so what should we do now? Let's tap into Edit mode with that. Let's press three so we can select faces. Grab that top face and just sit S and go ahead and scale that in to get the angle that we're seeing just here. I'll go ahead and scale it down a little bit more, and I think I'm happy with that now. Maybe I'll take that down just a little bit about like that. Okay, so the next thing you want to do is extrude that cell press E, and just extrude that just a little bit like that. Now let's go press E again and just extrude that up now to about that. Now let's press S and go ahead and scale that in to about there like that. I think that should be good. About there. Okay, let's hold on to Alt and select this ring here. Let's press E and S and go ahead and take those swoops. Let's try that again. Let's press E and S and go ahead and take those in now like this. And we'll take those in a little bit more to about there. I think that should be good. Okay, I think what I'm going to do is I'm going to press two so I can select edges and press a hold, grab those edges there. Whoops, this one here. There it is. And I'm just gonna press S, and just scale that one in a little bit like that. That's better. All right, so what do we do next? I think I want to take this top face up a bit more, so I'll grab this one, go ahead and pull that one up a little bit more, and maybe scale it in a little bit more, as well. And there we go. I think I'm happy with that now. Okay, so let's have a look at the scale overall and the scale out. Let's press Control A, and apply rotation and scale. And let's tap back into Edit mode. Okay, I don't think we can really apply a bevel modifier to this we've got lots of different lots of different sort of radiuses or diameters as you want, of bevels on this. So let's just go ahead and do them individually. Let's press two. Hold Alt and grab this one here. Let's press Control B, and let's bevel this one. And let's go ahead and scroll the mousewheel to get some extra segments in there. And let's take that to about there like that, I'd say. There we go. That's cool. That's helped a lot. Okay, let's grab the bottom one now, so let's hold out and select this one. Let's press Control B and go ahead and bevel this one a little bit to maybe just a bit, something like that should be fine. Okay, let's do these ones next. Let's hold lt and select this one, hold Shift and lt, and select this one. Let's move in a little bit more. Let's hold Shift and lt and grab this one and shift and lt and grab this one. Let's press Control B on those and put a smaller bevel on these. That's not small. Let's come back on that. To maybe something like that. Let's reduce the segments maybe to a four. And there we go. Let's leave that like that. I think I'm happy now with that. Okay, so what do you want to do next? I think the next thing we need to do is have a go at creating this handle here. So I think let's go ahead and tap out of Edit mode. Grab this. Let's hit the forward slash key, which will bring everything back and let's hit it again now to isolate it. Okay, let's press seven to see this from above. And let's tap into Edit mode with it. And let's press one so we can select vertices, grab this one, hold Shift and grab this one, right click, and let's go ahead and connect vertex pairs. Let's do the same on the bottom now, so I'll press control or hold down Control and press seven to flip it. I'll grab this one here, hold Shift, and grab this one, right click and connect to vertex pairs. Let's go to wireframe now, and let's press three so we can select faces. Let's select all these faces here now, then. And let's press X, and let's go ahead and delete aces. Okay, I think the next thing I want to do is go ahead and create a mirror modify this. And we can see that the origins is just fine, and the cursor is even though it is lower than the origins, I would still say it's in the same position in the z axis. So I think it's fine where it is. So let's tap out of Edit mode. Let's add modifier and generate and mirror modify. Let's have a look at that. Make sure that clipping plane is on, and just so we can have a look at it properly, let's go back into solid. And, yeah, that's fine. That's working good. So what do we want to do next? I think the next thing we need to do is create this sort of handle here. Or it's like the mount for this coil handle here, this spring coil handle in the middle. But let's anyway, try and create this. And this is why I've used the mirror modifier, so I don't need to repeat myself on the opposite side. And also, if it's mirroring, then the two will be identical. So let's tap into Edit mode with it, and where are we going to work this from? I think we'll kind of work it from here. So yeah, from here, let's say. So let's press E and Y and go ahead and bring this out now in the Y axis. Like this. And kind of it's time for a new trick. So as you can see, the face that we've sort of created is angling back. Either one, it's angle back. So I could sort of select the edges now, and I could pull this edge forward, blah, blah. And, is that right? Then I can pull this edge forward, and how is that looking? There's an easier way and a quicker way. I'll go ahead and press Control E to take those moves back, there we go. And I'll press three so I can select faces. I'll grab this face here, and I'll consider what axis I want this to happen in, and it's in the Y. You can see the Y axis is the axis that's relevant to that face. So I'm going to press S Y, and zero to level. And that's it. That's level that nicely for us. Okay, so what's next? As you can see, I think the next thing we need to look at is how this kind of tapers up and in and reduces in size. So let's have a look at that next. So let's make sure we've got edge selection on. Let's grab this edge. Let's press controller, and let's put maybe two loops into it. And I think the next thing or maybe that should have been three. I'm going to go three. Excuse that. I'm going to press Control's ed. And let's try that again. Let's press controller. And let's go ahead and put three in, I think, like this. Okay, so what's next? I think the next thing we can do is go ahead and start reducing this face. So I've got another new trick for you right now. We're full of new tricks on this lecture. I want to show you a tool, a really good tool called proportionate editing. And I want to show you, first of all, the hard way of doing it. So you don't need to follow me. So if I sort of press three now, select this face, and if I take this up now, I could do that. And I could scale this one in. And then maybe now I can press two and I could press Alt, and I could select this, and I could take that one up, I could scale this one in. And you can see the dilemma. It's inaccurate and it's slow. So what can we do different? Let me just control set those moves to get rid of them all cause it looked terrible anyway. I want to show you what proportionate editing does. So here's proportionate editing tab right here, so I'll go ahead and turn it on. And the setting here, I will leave on smooth. There's other settings. But for this, I'm going to leave on smooth. And what I'm going to do is select this face here. Now, if I press Gino, I can get this ring. And its chances are when you do it, the ring is not visible on the screen. So the first thing to do is roll the mousewheel forward. It takes quite a while until you get this ring, something like that. And what I want that ring to be surrounded, where I want that ring to be is just just sort of in this area that we've extruded. I don't want it to be sort of overlapping with anything else. So I think there is perfect like that. And now, if I go ahead and move this up you can see what it's doing. It's affecting those loops behind it, and it's moving those up in a similar fashion, sort of tapering the movement as it goes, but sort of moving that up, and you can see how cool that is. So maybe I'll sort of move this in a little bit as well like this. And maybe now I'll just go ahead and grab this face, and I'll scale that down in the X. I'll press S and X and go ahead and taper this in now like this. And what else do we want to do? I think let's press two, select this edge here, move this edge up, and I think now for a second, I'll turn off proportionate editing and just move that up like that. So there's nothing stopping us sort of tweaking this by hand a little bit too, so maybe I'll grab this edge and just move this one down a little like this. And let's see what we're getting. And I think that is kind of the shape that I'm after. Maybe I'll grab this edge, move this in a little bit. Am I happy with that? I think that's correct. I think I'm happy with that shape. No, yeah. I'll leave that like that. We're going to apply a Subdivision Surface Modifier to this yet, so a lot of things will change. Okay, so the next thing I'm going to do is go ahead and grab this one here, maybe, and press controller. And let's go ahead and put three loops in there like that. Let's grab this here now. Let's press Control, and let's go ahead and put maybe three loops in it this way as well. Now that we've done that, let's tap out of Add mode. Let's check the scale and the scales all good. Let's add a Subdivision Surface Modifier. And, yeah, I mean, that's looking pretty good overall. I think, overall, I'm quite liking that shape. Let's add an extra level in the levels view put to add a few more vertices to this. And is there anything else I want to do to this? Let's tap into Edit mode. And let's just grab these edges here. Let's try just taking that back a little bit maybe down a little bit, just to round off that edge, just a little bit, something like this, then this just to get a bit rounder. We could do the same here with the bottom edge. Let's try moving that. Move that in, and then out a little bit, just to round off that edge a little bit like that. Okay, so let's try adding a shade auto smooth, so let's tap out of Edit mode. And let's grab this. And let's right click and go for a shade auto smooth. Let's find the angle adjuster and just tweak that. Just to try and soften the angles, let's try a 50 or close enough. And there we go. That's looking good. Let's go ahead and bring everything back and look at our handiwork for a moment. And I think maybe let's grab this cover we've just made and the top of the oven, and let's isolate again. And let's press seven to see from above. And maybe I'll just scale this up a Whoops not everything. Just this. Let's try scaling this up a little bit like that, maybe. And let's try taking this over and just see if three fits nicely. Let's press Shift D and X and go ahead and bring a copy to the middle. And I'd say that one's too big, so I'll just delete that one, grab this one again and press and go ahead and scale that down to something like that. And I'll press Shift D and X and go ahead and bring a copy to the middle. Do the same again, Shift D, and X, and bring a third one over. And let's just see we're looking. Again, I think I want to scale that one down a little bit more. I'll let S, take it to there, ring that over a little bit, press Shift and X, bring a copy over like this, and again, shifty and X, and bring a copy over, and now we're looking better. Now we can distribute these. And yeah, I think that'll work for us. Okay, sounds mad, but the next thing I'm going to do is go ahead and delete those for a minute. And I think I've got a little bit more work that I want to do on this, so let's go ahead and do that. Let's tap into Edit mode with this now. And let's go ahead and just grab these three faces here. So I'll press three, grab this one, this one, and this one, and let's go ahead and extrude that and the Y. So let's press E and Y and go ahead and bring that out like that. To about there like that. Let's add some extra control loops to this now. So let's press two, grab this one, press Controller, and let's put three loops in like this, and there we go. That's sort Um, let's go ahead and re square this now. So maybe let's go ahead and turn on our cage. Let's select this face, press three, select this one, this one, and this one. And let's press S and Y and zero and enter. And now we've gone ahead and squared that off back there. Okay, so that's kind of it. That's sort of where the hinges on the back there. Okay, so let's tap out of Eddy mode with that. And I think I'm happy with that now. I think that looks great. So in the next lecture, let's have a go at doing this coil spring handle. So to do that, I'll be showing you some different modifiers again, and we'll be learning a few new tricks. Okay, thanks very much. And I'll see in Oh, let's do a save. Okay, let's press Control S and do a save. Oh, my goodness. Alright, let's try that again. Thanks very much. And I'll see you in the next lecture. Bye bye for now. 42. Lecture 41 The Oven Part 4: Hello, and welcome now to Lecture 41. And in this lecture, what I want to do is go ahead and make a handle that you see here on what do we call this thing? Let's call it a doo hickey. I don't know what we name this thing, so let's just call it do hike from now on. So let's go ahead and put this sort of handle here on this. Alright, so it looks difficult, but it's really not. We're just going to use something called the screw modifier. So this is another opportunity to show you a new modifier. So let's go ahead and do this. Let's just grab this and let's hit the forward slash key and bring everything back and hit it again to isolate it. Let's go ahead and now move the cursor to the center of this object. So let's press shifts and cursor to the selected, and there we go. I want to bring in a new object now. I want to press Shift A. And I want us to bring in a circle. Have we brought in a circle before? I don't think we have. I think it's the first time, but there's nothing to it. It's just simply a curve. So let's increase the vertices to 40, and there we go. That's done. Let's scale this down. Let's press S and go ahead and scale this down, and maybe now let's just bring this out a little bit. And let's press seven to see this from above. And let's go ahead and scale it down some more till we get roughly the size that we want, something like that, maybe. Once we've done that, let's go ahead now and put the origin back at the cursor. So let's right click and set the origin to the three D cursor. That's kind of necessary for the screw modifier to have its pivot point here at the cursor. So let's grab this, add modifier, generate and screw modifier, and there we go. At the moment, it's kind of flat and that's no good to us. So let's play around with the axis. Let's try it on the X axis. Let's see what that looks like, and that's exactly what we want. So let's go ahead and scale that down again. Now, let's press S and bring this down and scale and just bring this out now. Let's press three. See this from the side. And let's press S and go ahead and scale this down and kind of put this into position now where we want it another time. There we go. That's kind of cool. So now that we've done that, let's play around now with our screw settings. So next thing to do is just go ahead and adjust the screw here now, until we get this kind of doing that, that's kind of what we want. So I've gone 4 millimeters. Maybe I'll go back a little bit to about 3.8. And the next thing we can do is just up the iterations, which will repeat that coil. And I'll just leave it like that for a moment. Obviously the profile of our spring is too skinny, so let's increase this. So do that. Let's just tap into Edit mode, our circle. The end of the circle here is already highlighted. Let's just press S and go ahead and scale this up to get a larger profile on our coil. Let's now increase the angle. So let's come over to this right click now and just go ahead and increase this or actually reduce it in this case, until we get this now, doing this effect like this. That's cool. Now that we've got that, let's go ahead and reduce the screw a little bit, join that up a bit. There we go. That's cool. And let's now increase the iterations and go ahead and make that a bigger bigger spring. Let's re center this now. Let's bring this over, maybe just increase the iterations a bit more, and there we go. That's looking good. Maybe just increase those iterations a little bit more, and there we go. That's looking good. Okay, so that's got a coil spring, but as you can see, it kind of tapers down towards the edge, and it's a lot bigger in the middle. So let's deal with that next. So how are we going to do? Maybe we do one more iteration before we do that maybe just bring this over a little bit more to sort of hide the last the end of it just like that. That's cool. Now let's grab this object. Let's tap Edit mode with it first, and let's press seven to see this from above. And now we can go ahead and convert this to a mesh. Let's click, and let's convert this to a mesh. Let's actually go into wireframe mode now and let's go ahead and tap into Edit mode with it. Let's press one so we can select vertices. Let's go ahead and use our proportional editing tool. Let's turn that on. Let's just go ahead and use this line here as the reference, and let's go ahead and grab some of the vertices here in the middle like this. Let's go ahead and scale this up a little bit now, but I don't want to scale it up in the X axis because that's going to make it kind of elongated. I just want to scale it up in the Y and the Z. So let's press G first and see what our selector ring looks like. Let's reduce that a bit. So it's kind of like there, I think, maybe there. And now let's press S. And then shift and X. And now let's go ahead and scale that up a little bit to get this tapering, and that would be about right for me just like that. Okay, let's go back to solid mode now, and let's see what that looks like. And there we go. There's our sort of tapered coil spring. Really not too bad at all. Quite a cool effect. So what do we want to do next? I think if you grab this object, let's move the cursor to that. Let's press Shift S and cursor to the selected. And you kind of can't see, but there is a steel rod through the middle of this, so that's easy. Let's do that. Let's press Shift A and mesh and cylinder, and we'll bring the vertices down in this case to maybe a 24. Let's press S and scale this down. Let's rotate that in the Y. Let's press Y, 90, Enter, let's press S and scale that down a bit more to something like that. And now let's scale it up in the X. Let's press S and X and go ahead and bring that in now like that. That's cool. We could grab that now and right click and go ahead and do a shade autos that's cool. That's what we want there. So we can actually bring everything back now. So let's hit the forward slash key. And there's one more thing I actually want to do in this lecture, and let's finish off the back of our doo hike. Let's finish off that. So we need, like, a hinging mechanism here at the back. So let's just select this and the top of the cooker, and let's isolate those. And now that we've done that, let's just simply bring in a cube. So let's press Shift A and mesh and cube. There we go. Let's scale that down to something like that. Let's press seven to see this from above, and now we maybe bring it back, let's go ahead and scale it down a little bit more until it kind of fits in between these two things. Let's press S and scale it down a bit more. And there we go something like that. Let's press and go into wire frame and let's tap into edit mode with it. Grab these vertices here now and we can kind of pull those back. Let's turn off proportional editing. We don't need that now. Grab these ones and pull these forward not to something like this. Okay, let's press one to see this from the front. And these vertices here, we'll pull these down now until they're about there and grab these ones now and pull that down until it's level with the edge of these things here, which is those little prongy things on the back. And that's cool. That's what I want. So let's go back to solid mode now on that, and that's looking good. So I think all we need to do now to make that convincing is just apply some bevels to that. So I think first of all, let's tap out of Edit mode and readjust to scale. So let's press Control A and apply rotation and scale. Let's tap back into Edit mode. Let's press two, grab this edge, and this edge, this edge, and this edge, this edge, this edge, and this one and final one, that one there. Let's press Control B, and let's go ahead and bevel those. Let's scroll the mouse wheel a couple of times. And I think that's kind of cool there. I like that. That's cool. Let's tap out of Edit mode with that, and let's do a shade ato smooth. And there we go, that makes sense. You can see now we've got this sort of scent a bit, which the sort of doohickey would be rotating on. Okay, let's bring everything back. Let's hit the forward slash key. And we've got this item, we've got a coil spring, and we've got sort of the steel pin in the middle of it, and we've got this thing in the back. So let's go ahead and join all of these items into one group, just to simplify things. Let's do that next. But before we do that, let's go ahead and apply our modifiers. So let's start with the main thing. Let's apply with our doo hickey. And when you apply modifiers, it's good practice to start from the top. So let's go ahead and apply our mirror modifier, and let's then go ahead and apply our Subdivision Surface Modifier. Let's have a look at the spring. There's none with that. In fact, the rest is done. This one here has nothing. We don't count the adjustable smooth. That's fine. So let's select all these items. Let's start maybe with that pin in the middle. And then the spring, this one in the back, and then finally the main thing. Once you've got all of those, let's press Control J and join them into one. And there we go. That's cool. Let's maybe just grab this and this now, and let's isolate one last time. And let's press seven to see it from above. Let's grab this. And now let's go ahead and press Alt D and X and bring a copy over now to about here like this. And now let's press Alt D and X and bring another copy now over to here like this. Let's grab both of these and just bring them over a little bit more to about there. And let's grab this one and just move over a little bit to about there. Maybe we could bring all three of them forward a little bit to about there like that. Okay, I'm leaving the sort of this larger gap on this side because we have this sort of jointing strip, which is on the top and down the face. So that's why I'm kind of leaving that gap there like that. And that's cool. Let's bring everything back one more time, and let's look at our handiwork, and that's looking really good. I'm pleased with that. So in the next lecture, let's go ahead and build our vent here at the back. And let's put our towel rail in here and let's apply our jointing strip on the front face here. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 43. Lecture 42 The Oven Part 5: Hello, and welcome now to Lecture 42. And in this lecture, let's carry on putting the details here on top of our oven. So we need to sort of put this pipe, this cloth towel rail on the front here. And we've got this jointing cover strip, as well to go on here. And we've got this big vent towards the back, so we've got a few things to do. Well let's just see how we go. Alright, so let's make a start. I think it's my habit to start with the easiest. So let's start with the towel rail on the front. So let's just grab the top and then maybe just these two do hickeys. And let's go ahead and hit the forward slash to isolate them. Okay, so let's bring in a cylinder. Let's press Shift A and mesh and cylinder. Let's rotate that in the y axis. Let's press Y, 90, enter, and let's hit S and scale this down. Let's press three on the lump pad to see this from the side, and let's hit S again and scale it some more. Bring it kind of into position like this. Maybe scale it down a little bit more to something like that, I would say. And let's press one to see it from the front. Let's tap into Edit mode with it. And maybe let's go press go into wire frame. Let's press one so I can select vertices, grab these ones, and pull this back until it's inside the sort of the mounting thing, the bracket thing. Bring this this way and pull this into the bracket this side, too. There we go. That's cool. Okay, so let's go back to solid mode on that. And let's tap out of Edit mode and see if we're happy. And the only thing I would say is it all seems a bit too close. Maybe I want to do something with that. Let's press one. Oh, sorry, let's press three to see this from the side. And let's tap into Edit mode with the main sort of large component, and let's go to wire frame. And I think I'm just going to grab all these vertices here and go ahead and pull this forward a bit more to about like that. Okay, let's grab our pipe now and pull that forward, as well, back into position like that. Alright, let's go back into solid mode and see if we're happier with that. And, yes, that looks, I think, better. I think that's probably how the intention of the design is. Okay, let's right click on this, and let's go ahead and do a shade auto smooth, and there we go. That one was easy. Okay, so now maybe let's have a go at this cover strip next. Let's see what we can do with this. So I'm going to grab the edge from this in the middle and use that as my starting place. So let's do that first. Let's just tap into Edit mode with this. And let's press two so we can select edges. Maybe grab this edge here, and now hold down Control and maybe grab this edge here. Once you've got all those, let's go ahead and press Shift D and Z and bring a copy up. Now, two copies have come up because this still has the mirror modifier applied, the mirror these objects here have also inherited that mirror modifier. But we'll fix that as we go. So now let's go ahead and separate those curves from our main object. So to do that, let's press P, and let's separate by selection. And then let's tap out of Edit mode. Then we'll grab these here, these strips, and we'll go ahead and delete the mirror modifier. Ooh. What's going on there? That doesn't make any sense. Okay, let's press Control Z, and let's bring that back. And let's try that again. Let's try deleting the mirror modified, and there we go. I think somehow I had the cooker top selected, as well. Okay, so I think the next thing I'm going to do is grab this, check the scale. It's all good. So let's tap into Edit mode with it, and we'll press A for, and let's go ahead and extrude that in the X. So let's press E and then X and then bring this over to get the kind of with on this that I would like. And I think that will do. For some reason, I can see a couple of flipped normals on this. So let's deal with that. Actually, let's just press A for all, and let's press Alt N, and let's go for recalculate outside. And there we go, Let's have a look at that. And that's better. Yeah, that's much better. Okay. Is there any mesh Maybe as well. Let's grab this one and then maybe this one, let's right click and dissolve those edges. I don't think we need them. And let's have a look at the back here and see if there's anything similar that we could get rid of. And no, I think that's better. That's okay there. Okay, let's tap out of Edit mode with this now. Check the scale. It's all good. And let's apply another modifier. Let's add modifier and generate, and let's apply the solidify modifier. The solidify modifier. I'm not sure if we've used it yet or not. I honestly can't remember, but anyway, excuse me if I repeat myself. So the solidify modifier puts thickness to an object. That's its kind of purpose. So if I go ahead and click on it, and you can see just what it's done there like that. Let's go ahead and reduce the thickness of that. So just like the bevel modifier, I'll add an extra zero and click enter. And well, that's kind of too skinny now. So I'm going to go ahead and turn that one. Into maybe a five aclcena. And there we go. Let's see how that is. Okay, what do we do now? Let's go ahead and apply that. And let's go ahead and tap into Edi mode with it and see how she looks. And it looks okay. Let's maybe add some control curves to this. Maybe let's grab this edge here, press Control R, and put a couple of curves in it, something like this, maybe, and maybe put some on the edges, too. So let's grab an edge here. Let's press ControlR and let's maybe put two on the edge now like this. Okay, now that we've done that, let's tap out of Edit mode, and let's go ahead and apply the subdivision surface modifier to this. And let's go ahead and increase the levels view port two. And let's just have a look at the bottom here and see if there's anything we can do. Maybe just grab an edge here, press controller, and bring a loop down closer to the bottom now like this. Let's have a look at this side, see if it's done something similar, and there's enough control curves here to actually sort it out. And there we go. That's done. That's looking good. Let's go ahead and apply these modifiers now. Let's apply our subdivision surface modifier. Excuse me. Let's tap out of edit mode, and now let's go ahead and apply our subdivision surface. Let's right click and shade Auto smooth. And now let's go ahead and put that in position. Let's right click and set the origins to the geometry, and I'll bring this down into position like this. I'll press three so I can see it from the side, and now I'll go ahead and carry on bringing that down into position, something like that. Looks like it needs to come forward, so we can do that, we'll grab it again and just bring it forward slightly under Y axis. Like that. Let's have a look at that on the front. And, of course, that needs to go over. So let's grab it and bring it into position here like this. And also, let's carry on bring this forward a little bit in the Y. So price G and Y, bring that forward a bit more now, like that. And there we go. There's our cover striping position. So I think the next thing or the last thing we want to do is have a go at this vent here at the back. So let's see what we can do with that. So I think I'll start with a cube, so press Shift A, and let's bring in a cube. That's a little bit. Let's press S and scale that down. And maybe let's press seven to see this from above. And let's bring this back on the Y and kind of get it in position. Obviously, still a little bit big, so let's S and bring this down. And I'm going to put a guestimate in at about that size, I would say. I'll slide it over on the X and take it back a bit on the Y. And maybe let's press one, see this from above. And let's press from the front. And let's press and Z. Bring this down now a little bit to about this. And now let's go ahead and lower that down to the Coker top like that. And yeah, I I think that's about where I think it should be. And I think that's about the right size. Alright, so I think now I want to go ahead and isolate it. So let's grab it. Let's hit the forward slash. That'll bring everything back and then hit it again and it'll isolate it. Let's look at the scale. Let's fix that. So let's press Control A and apply rotation and scale. Okay, so let's tap into Edit mode, and let's go ahead and select maybe one edge here, and let's press Control R. And let's bring a loop down to about like that. Press three so we can select faces now. Hold Alt and just select close to the corner like that. And now let's press E to extrude, S to scale, but not in the z. So let's press Shift s and now let's scale that up. So we get a sort of lip on the bottom edge like that. Okay, I kind of get the impression that it kind of slopes on the top. So let's do that next. So let's press three so we can select faces, grab this one. Let's hit S and go ahead and scale this in like this, maybe bring it down a little bit, and there we go. Okay, we're going to apply the subdivision surface modifier to this, but I think we can apply a few more control loops into this first. Do just anticipate what we need to do? So let's press two to select edges, grab this one here, press controller, and maybe let's put three in there like that. Let's do the same this way, grab this controller, and maybe let's put three in here now, like that. Let's grab this edge. Control, roll the mouse wheel and just put two in maybe. And now let's grab this edge, Controller and let's put two in there. And now let's grab this edge. Let's press Controller, and let's just put two in here like this and yeah, leave those up Okay, so that's looking good. Let's tap out mode with that. Let's add the subdivision surface modifier, and there we go. That's already getting the kind of shape that I see there. Okay, let's increase the levels of viewport to two, and it really is looking quite good. We could do a shade oro smooth to that. And yeah, there we go. That's the shape that I was after. Yeah, that's fine. So I think the next thing I want to do I can go ahead and apply that subdivision service modifier, actually. There we go. Okay, so the next thing you want to do is use the Boolean modifier to cut these kind of vents in the front. So let's bring in a cube. Let's press Shift A, mesh and cube. Well, scale it down, of course, go ahead and scale it down some more. Let's press seven to see this from above and bring it over like this. There we go. And let's press S and X, and scale it up to something like this. And now let's press one to see it from the front, and let's scale it in the Z. S and Z and bring this down to something like this, maybe maybe a bit in the X. SX, bring that down. Center that a bit, and there we go. That's about right. Okay, so let's fix the scale on that. Let's press Control A and apply rotation and scale. Let's add a bevel modifier to this. Add modifier, generate, and bevel. Let's leave that at 0.1, but let's increase the segments substantially. To a six, there we go. Alright, that's looking good. So I think now we can make some copies of this so we could press Shift and Z and make another copy and maybe put that there like that. And yeah, I'm happy with that. Okay, let's grab this one again now, and let's add the Boolean modifier. And let's grab our little eyedropper and just hit this one like this. Let's select this one for a second, press H and make sure that's worked. And yeah, it's worked just fine. So let's go ahead and apply our Boolean modifier. And let's press ltH and bring this one back and go ahead and delete. We can do the same again now. We can select this, add modifier, generate and boolean, grab our little y dropper, and just click on this one. And I think I'll take the risk that that's worked. So I'll go ahead and apply that and then go ahead and delete this. And there we go. That's our vents cut into this. Let's go ahead and hit the forward slash. And there's sort of a top of our oven with all the details that I would expect. Okay, I think the only thing that I'm missing is these little disks from this side. So let's go ahead and grab those and hold Shift and select this. And let's hit the forward slash to isolate and press seven to see this from above. Let's grab these, this one here, and this one here. And we could mirror, but I think, in this case, I'm just going to go ahead and duplicate. So let's go ahead and press Alt D and X and bring these over like this. Let's press Z so we can see what we're doing. And let's go ahead and bring those over into position. And I'll go ahead and press G and X, and bring them in that last bit to like that. Okay, so let's go back to solid mode now. And let's go ahead and bring everything back. And there's the top of our oven finished. Cool. And let's do a save, I remembered. Let's press Controls and go ahead and save our progress. Okay, so in the next lecture, let's start having a look at our doors. Let's have a look at the details in those and how we're gonna make them. Okay, thanks very much. And I'll see you in the next one. Bye bye, Fino. 44. Lecture 43 The Oven Part 6: Hello, W. Welcome now to Lecture 43. And on this lecture, I did say I did say at the end of the last lecture, we're going to be tackling the doors in this lecture, but sorry. I think what we want to do next is do this cover strip here, and we have, like, an indent on the base of the main piece as well. So let's do those. And then that will allow us to know what size to make our doors. So yeah, let's go ahead and do that in this lecture. And the next lecture. In the next lecture, I promise we'll tackle the doors. Okay, so let's make a start. So I think let's go ahead and grab this and this. And with those two selected, let's sit the forward slash and isolate them. And let's go ahead and do this sort of recessy thing here on the base. Let's do that first. So let's select this and tap into Edit mode. And with edge selection on, let's grab the edge, press control, and go ahead and bring two loops in and bring them down to about there like that. Then select the top loop, grab this one, and bring that down some more to about there like that. Once you've done that, we can go ahead and delete or dissolve, sorry. These ones here. We don't really want these. Let's get all of those, and then let's right click and go ahead and dissolve those edges. And let's press three so we can select faces. Grab this face here. And let's press E and go ahead and take this in a little bit like this. And then when this panel click pops up, go ahead and dissolve orthogonal edges, and that will remove those wasty little bits on the end there. And there we go. So now we've got that detail. That was easy enough. Now let's work on this cover strip. So I brought this cover strip in here to give us a sort of indication on the width to make this. So let's press two so we can select dates, grab that one there, press controller, and bring a loop in and bring that to the middle of there like that. Okay, let's just have a look at the rotation scale on this, and it's out, so let's press Control A and apply rotation and scale. And now let's pop straight back into Eddy mode. And now let's go ahead and press Alt and select all of this. And let's press Control B. And let's go ahead and bevel that edge. To get something about that, I think, is it? Let's press one and see from the front. Yeah, that's about right to me. Okay, once we've got that, we can go ahead and dissolve, again, those edges and those edges, those edges, and those ones and those ones. Let's we click and go ahead and dissolve those edges. So we just have this. Now let's press three so we can select faces, grab this one, hole control, and go to there. Now let's press Shift E and Y and bring that copy out. There we go. That's cool. That's easy. Okay, so we want to be able to separate that from our selection now. So let's press P and go ahead and separate by selection. And there we go. While we're here, let's do some housekeeping. So let's press two so we can select edges. And let's go ahead and hold Alt and select this one, hold Shift and Alt, and select this one. And let's go ahead and dissolve those. There's no need for that unnecessary geometry to be kept. Okay, let's tap out of edit mode, and let's grab this one here. Scale's good. So let's add that solidify modifier to this to gain some thickness in it. So let's add modifier and generate and solidify. And the first thing I notice is it went the wrong way, so we need to work in the minus. So come on to offset thickness and pull that into the minus. Looks a bit crazy. Let's fix that. So let's add an extra zero to the right of the decimal point. Lenter. And shall we leave that at five? Let's put even thickness on. And yeah, I think I'll leave that just like that. So let's go ahead and apply that now, and there we go. So like the top one, we use the Subdivision Surface Modifier to round it off a bit. So let's go ahead and do the same. So let's grab it and tap into Edit mode. And let's start off by putting some control loops in straight up it. So let's grab this edge here and press controller. And let's put maybe maybe that many. That looks good to me. How many is that? That's five. Okay, so let's put maybe one in on the edge here now. So let's grab here and press controller. Or should we put two. Let's put two in. There we go. Now let's grab this edge. Let's press controller, maybe put two in here as well, and just bring those down a bit to there, and then grab here. Breast controller, and let's just put one in there. And we'll do the same here, Controller, and let's put three in. And here as well, there's edge here, controller, and just put one in. And now let's put some along the straight. So let's grab it here. And let's press controller. And let's go ahead and put maybe maybe that many. That looks good to me. How many is that? That's six. Okay, so let's grab this one, so I'll hold down Alt and select this one, and I'll go ahead and pull that one closer to the corner like this. And let's do the same up here. So I'll hold down Alt, grab this one and take this one up closer to the corner here now, like this. Okay, let's tap out of Adding mode with this, and let's go ahead and add our Subdivision Surface Modifier. So add modifiers, generate and the Subdivision Surface Modifier. And that's looking good straight out of the box. Let's maybe increase the level of viewport to two. And let's go ahead and do a shade oro smooth. And let's go ahead and just take that book back and see how it looks. So let's press three to see this from the side. And let's right click on the object and set the origin to the geometry. And now let's go ahead and take that back and put that in position. And see how it looks, and something like that should be good. And let's go ahead and bring everything back, so we'll hit the forward slash on the lampad. And, yeah, that's looking fine. That's exactly what we want. The only other thing we could do. In fact, let's apply the Subdivision Surface Modifier. We're done with that now, I think. And let's go ahead and add a bevel to this. So let's add modifiers, generate and bevel. That's a little bit. So let's add our standard two zeros to the right of the decimal point. Get there in a minute. There we go. And maybe I'll turn that one into a two. And maybe I'll go ahead and turn the segments to up to a four. Yeah, I'll leave it there. And I'll go ahead and apply that. And there we go. So that's our oven now sort of ready for the doors in the next lecture. And that's one of my shortest lectures, I think. So, let's go ahead and do a save. So let's press Controls. And yeah, I'll see you in the next lecture. Thanks very much. Bye bye for now. 45. Lecture 44 The Oven Part 7: U Hello, and welcome to Lecture 44. And in this lecture, yeah, let's go ahead and do those doors. Let's see what we can do with those. And sort of looking at our image, you can kind of see that these doors are sort of raised in the center with a slight chamfer on the edges, and we've got these hinge tags here and, like, a catch on this side. So let's just see what we can do with this. So let's isolate some objects. Let's grab this and our little cover plates, and this one, and that should be enough. Let's hit the forward slash key with those. Let's press one to see this from the face. Let's press Shift A and mesh and cube. Let's S and scale that down straightaway and bring that into something like this. Bring it down on the z axis, and now scale it in the z until we get something like that, I think. I think that's pretty good. Maybe scale up slightly in the z, S and Z. Take it up slightly. And what I want to do now is just make some duplicates just to make sure that I'm building this at the right size. So let's press Shift and Z, bring a copy down. And I think that's okay. Let's bring this one up slightly. And yeah, I think that's fine like that. Let's just try taking that copy over to the other side. So let's grab both of those, let's press Shift and X and take a copy over like this and do the same, press Shift and X and bring a copy over again. And yeah, I think they're gonna work. Okay, straightaway, let's hit delete on those because we only really need the one. So let's get rid of those for a moment. So we just have this. Maybe let's press three to see it from the side. Let's go into wireframe mode. Let's grab it, and let's go ahead and scale it down the Y. So let's press it and Y and bring this down and just put this where we want it. Something like that. Let's scale it down a bit more in the Y to I would say something like that, and then bring it in till it's touching the surface. Let's go back to solid mode now. And let's fix the scale. Let's press Control A, and apply rotation and scale. There we go. All right. What's next? Let's tap into Edit mode with it. And I think first of all, let's grab this edge here. Let's press Controller and let's put some edge loops into it, maybe three edge loops, which makes four faces. And now let's grab this edge here and let's press Controller. And let's go ahead and put in maybe four loops. Let's try four loops. And let's go the other way now. Let's grab this one and let's press Controller. And let's put in maybe should we go four loops again? Yeh, I think so. Let's go four loops again. Okay. Once we've done that, let's press three, let's grab maybe these faces here. And let's go ahead and pull those forward in the Y axis to something like that, I would say. Yeah, that's looking good. Alright, so now we need to sort of try and create these things, these little hingy things. So how are we going to do that? Maybe let's press two so we can select edges again, grab this one and press controller and bring a loop in like this and bring it to about there, I'd say, like that. Let's grab this one now. Let's press controller. And let's go ahead and bring a loop down now to about Let's grab here. Let's press Control. And let's go just leave that just where it is and drop it in like that. Okay, let's press three so we can select faces. Let's grab this one, this one, this one, this one, and this one. And this one, this one, this one, this one, and this one. Let's extrude those out on the X. Let's press E and X and pull those out now to something like that. Let's press two so we can select edges and grab maybe this one and this one. I don't think we want those, so let's right click and go ahead and dissolve those edges. And let's grab this one and this one now, and let's pull that forward on the Y axis to something like that. I think that's cool. Okay, so now what? That's kind of got the kind of shape that we want. I think now let's go ahead and play around with doing this little one on the front. So let's select maybe this edge here and press controller, put this one in bring it closer to the one above until we've got something like that, I'd say. And let's put another loop in here now, so I'll grab this one, press controller. And I'll leave that just where it is in the middle like that. Okay, so let's press three to select faces and grab this one and this one, this one, this one, and this one. And let's press E and X, and go ahead and pull those forward now to create this little catch thing. Okay, let's press two so we can select edges, grab this one, right click and dissolve that. Let's grab this one now and go ahead and pull that forward on the Y axis like that, I think. Alright, so that's cool. So what's next? Let's go ahead and apply our subdivision surface modifier, I think. Let's tap out of Edo mode, and check the scale. Of course, that's all good. Let's add modifier, generate and subdivision surface modifier. Okay, let's move our viewpoint levels to two, and let's go ahead and tap into Edit mode with this. And let's start adding control curves now to tighten this up. So where shall we start? I think here, let's start here. Let's press Control up, and let's put in maybe three on here like this. And let's do the same on this one. Press controller. And let's put maybe three on this. There we go. That's cool. And let's do the same with this one. Let's grab this one, Press controller. And let's put maybe two or let's go three, as well. Okay, so let's try and tie up this now. So let's select this edge. Let's press controller, and maybe let's go ahead and put four in this edge. There we go. And let's do the same at the bottom. Let's grab this one, press controller, and let's go ahead and put four in there like that. And there we go. That's good. All right, so which next? Maybe let's have a go at this. Let's grab this edge. Let's press Control. And let's put two in, and let's take those up ever so slightly to something like that. And let's do the same here, let's grab here. Press control, put two in here and go ahead and take those down a little bit to maybe something like that. Alright, starting to look good. Let's put some in here, I think. Let's grab this one. Press ControlR. Let's put maybe three in here and leave them where they lie. And it's just this one here now. Let's press Control R on that. Just there. Maybe just leave that at one and just bring that up slightly just like that. Okay, overall, I think that's looking pretty good. So let's tap out of Edit mode, and let's right click and do a shade oro smooth on that. And yeah, that's looking really good now, actually. I'm liking that shape. That's come along nicely. It's not 1 million miles from here, and it's definitely looking good. Okay, so I think the only thing left to do with this is to just create these little knuckle things here. So let's go ahead and do those next. So I think the first thing to do is maybe grab this door, and let's press shifts, and let's bring cursor to the selected. And now let's press Shift A, and let's bring in a cube. Let's press one to see this from the front, and let's hit S and scale this down. And move in a little bit and press S again and scale in some more, maybe bring it over. So it's underneath like this. Let's press S again and scale it down some more to something like that, I would say. Let's press Control three to see this from the side, and maybe now just grab the door and this one. And it looks like we need to bring these in a little bit to about here like this. And that we Alright, that's looking okay. Let's fix the scale on it, so let's press Control A and apply rotation and scale. And let's tap into Edit mode. Let's grab maybe this edge here and this edge here. Let's press Control B, and let's bevel those edges. We'll ring that round to sort of round off the front face, and I'll leave those segments where they are, which is five. And I think that's looking pretty good now. Let's tap out of Edit mode with that and just see if we want to do anything with. Or if we're happy. I think we're looking good. So let's go ahead and apply a bevel modifier to this now. Let's add two zeros to the right of the decimal point. And let's leave them one, I think. But let's increase the segments to maybe a three, and let's go ahead and apply that. Let's do a shade Ato smooth while we're here, and there we go. That's looking good. So now maybe let's just grab this one. Actually, I wonder if I just want to reduce the depth on that. So let's just tap into Edit mode with it. Let's press one for vertice selection. Maybe let's just press Z and go into wireframe and just grab the lower vertices and just bring them up. Two maybe something more like that. Okay, let's go back to solid mode on that, tap out of Edit mode and just see, that's slightly better. So let's press once, get the front view and grab this one, and let's press Shift D and Z and bring a copy down now. Oh like this. Maybe put that there just like that. Alright, so now with that done, I think the next thing I want to do is maybe just duplicate this around. So let's grab this one and then this one and this one. And let's go ahead and join these into one item. So let's go ahead and press Control, J, and join those into one item. And now that we've done that, let's go ahead and press Alt D and Zed and bring a copy down now. So here like this. Okay, let's grab both of these now, and let's press Alt D and X and bring another copy over now. And let's do that one more time. Let's press Alt D and X and bring a final copy over now to about here like this. And there we go. That's cool. That's our oven now looking really good. Let's bring everything back. And, yeah, that's looking really nice now. So I think in the next lecture, we've got a few last things to do. We need to create this little badge with Aga on it for the front of the middle door here. And then you need to create these little stainless steel blocks to go underneath our catches. Okay, so let's do a save on our progress. Let's go ahead and press Controls. I'll see you in the next lecture. Thanks very much. Bye bye for now. 46. Lecture 45 The Oven Part 8: Hello, and welcome now to Lecture 45. And in this lecture, we've just got two jobs left to do on our oven. We have to put these little stainless steel things just underneath our sort of latches here. And then we've also got the badge to put on that says Aga AGA. But I guess you could put your initials on there if you want, too, or whatever you want. Okay, so let's do that. So I think, first of all, let's start off with a badge. So to do that. Let's select the door, and let's isolate that. So let's hit the forward slash. And make sure the cursor is on the door. It's just on this little thing Bobbi here, but that's close enough. And with that done, let's bring in a circle. So I'll press Shift A and mesh and circle. Let's look at the vertices. I'm on 42, and I think I'm happy with that. I'll leave that just like that. I'll press seven to see this from above. And I'll just take this off to the side now, I think, and I'll scale this down a bit like this. And now I want to get this sort of ovly shape, ignoring the square ends for a minute. Concentrate on the oval. So to do that. I'm just going to scale it up in the X, so I'm going to press S and X, and go ahead and scale it up like that. Maybe even a little bit more SX. And there we go. That's cool. Okay, so the next thing I want to do is go ahead and tap into Edit mode with this. Press one, so we've got vertices selected. I'm just going to grab maybe that many vertices. And I'll maybe a few more. I'll go to there, I think. And then I want to square that end, so I'm going to press S for scale, X, and then zero to square it off. And there we go. That's cool. Let's do the same, so I think it's that many. So I'm going to press S, X, zero, Enter. Okay, so I think next, I want to just grab and that and just scale it down in the Y because it kind of kicks up again, doesn't it? So let's do something with that. So let's press S and Y, and just go ahead and bring that back in again to something like that. Okay, I want to select all these middle vertices here. And on this side, let's grab all of those. And let's go ahead and right click and go ahead and dissolve those vertices because I don't think we need them. Okay, maybe I'll just go ahead and take this in a little bit like this. Do the same here as well. Take these in a little bit. And I think now the next thing I want to do is grab these corner vertices and we're going to bevel them. Up until now, all the bevels we've done have been on edges, and we're not doing that this time. Obviously, we're just doing a vertices. It's the same principle, just a slightly different command. So this time, we're going to press Control Shift and then B. Once we've done that, we're going to bevel just the same way, R just drag the mouse. And go ahead and create a bevel like that. Play around with the amount of vertices you want to put in there. So I think I'm adding two, and I think I'm happy with that, and I'll go ahead and left click. So I've got three segments, so I'll leave it just like that. And there we go. That's cool. Alright, now what? Let's go ahead and press A to select O, and let's press F to fill that circle now. All right. Now, I think, let's press three so we can select faces. Let's grab that face. Let's press E and just scale that up in the Z axis to something like that. Let's select that face again now and maybe press seven to get the orthographic view, and let's press I to inset it and go ahead and inset this shape like this till we get something like that. But I'm seeing the gaps not even, so I think I'm just going to manually just scale this up in the X. So I'll press S and X and just bring that back out again, even that back up again. Once we've done that, let's press E and go ahead and take it down now and the Z axis to get sort of frame or whatever you want to call it. I read this as having a raised edge. So that's what we've kind of done there. Okay, so the next thing I want to do to this is just apply a bevel to it, so I'll tap out of Edit mode, check the scale and it's out. So let's press Control A. And apply rotation and scale. Okay, so now we have the scale fixed. Let's go ahead and add our bevel modifier to this. I think maybe let's add an extra zero to the right of the decimal point and click Enter. And I think that's pretty good. Let's go ahead and add add some more segments to this. Maybe let's take it to five. And, yeah, I think I'm happy with that, so I'm going to go ahead and apply that. And I'm going to go ahead and right click and Shade Auto Smooth. And there we go. We've got our outer frame. So let's press seven now to get the orthographic view. And let's select the object. Let's press Shift S and cursor to the selected. Okay, so let's go ahead and press seven now to get the orthographic view on this. And next, let's go ahead and add some text to this, which is something I know we've not done before, so let's go ahead and do that. So let's press Shift E, and let's bring in text. Let's bring that down a little bit for a little while and put that just beneath. The first thing we need to do is obviously turn that from the word text to the AGA, or whatever you want to put. So let's go ahead and tap into Edit mode on it, and we get this blue icon coming up that allows us to backspace delete, and we'll just put Aga. A, G, A, boops, my caps are on. Turn off Caplocks AGA, enter, and there we go. And then go ahead and just click back to Object Mode. So now let's go ahead and just bring that into position and go ahead and scale this until it kind of fits where we want it to. And let's have a look where that is. Maybe we need to take that up a little bit like this. Maybe just put that like that for a moment. Okay, so obviously at the moment, that's not good enough. That's just flat. So let's go ahead and work this a little bit. So select our letters and come down to heat now to this new symbol we have here, and let's go ahead and click on that. And now that's going to give us some adjustment to our text. So in the render resolutions, let's bring that down to about an eight. And in the extrude, let's go ahead and hit that and put some thickness to our letters. And there we go. That's cool. And then let's go ahead and take that down now, so it's on the surface. Put that about there and have a look at it. Let's press seven. And I think I'm happy with a scale just like that. So there's only one other thing I really want to do, and it's here in the depth. I'll just click on this, and that'll just round off the edges slightly on our lettuce. And there we go. There's our badge. It's done. I might just press S and just scale it down a little bit and just re center that a little bit again. But basically, we're there. I think that's cool. So make sure that the letters are in contact with the surface and they are. Okay, now we've done that. Let's go ahead and right click on it and convert that back to a mesh. And now that we've done that, let's go ahead and press Control A and apply rotation and scale. There we are. That's done. Let's select this and make sure that this is all good and it is. The next thing we can do is go ahead and join them together. Let's grab the letters first, then our little back frame, and let's press Control J and join them, and there we go. Alright, so now we can rotate that. Let's press x90, Enter. Okay, let's press one to see this from the front. It's a little big. Let's press S and bring down the scale on our lettering. Let's bring that over to the door now. And let's press S and scale it down a little bit more. I think something like that would be good. Center it as best we can. And let's go ahead and pull that through the door now. There we go. That's cool. And just put that in position wherever you think. So that's pretty good for me. Is it a little bit big? I think I'm going to bring everything back and just decide if that's a little too big, and I think it is. So I'll just scale it down a little bit more. And, yeah, I think I'll just take that back or decide if it's on the surface, and it is just there like that. There we go. So there's our badge on our doors, and I'm happy with Okay, so let's just select maybe the actual main body of the oven and our doors. And I don't really need that plaque I just like to see it. So I selected that, as well, and let's go ahead and isolate that. Okay, let's just select the main block now, and let's press Shift S and cursor to the selected. And now let's press Shift A, and let's bring in the last object for the Cucker. Let's bring in a cube. Obviously, a little bit big. Let's press S and scale that down. And let's bring that up in the z axis and carry on scaling that down. To something like that, I'd say, let's press seven to see this from above, and bring it forward on the Y axis and drop that in position, something like that. Let's press one to see this from the front, bring this down and find the position for it. I think what I'll do is I'll tap into Edit mode with it and press S to go into wireframe, and I'll press one for vertices, and I'll grab these ones here first and go ahead and pull that over. Maybe grab the bottoms one now and pull that over as well. Let's have a look see if there's any features to these, and there's not many, really. I think I'll round off that bottom edge a little bit. So I'll press two, grab that edge there. Maybe let's check the scale. I'll tap out of Edit mode. And let's press Control A and apply rotation and scale. Now let's tap back into Edit mode. Let's press Control B and go ahead and bevel that bottom edge a little bit, just to get something like that. And now I think let's tap out of Edit mode, and let's go back to solid view. Okay, so is there anything else we want to do to this? I think that's pretty much all I wanted to see on this. So let's go ahead and add a bevel modifier to it. And let's add two zeros to the right. And let's go ahead and maybe turn that one into a two. And let's increase the segments. And there we go. I think that's kind of the shape that I'm seeing. I'm not sure if it doesn't sort of do something weird there. Let's see if we can do something with that. Let's just maybe tap into Edit mode with it. And let's just add maybe a control loop to this. So let's press two, grab it here, press controller, and just put a loop in there. It's just put one in, but that's right. We could grab this one now and just go ahead and pull this up to get something like that. Okay, let's tap out of Edit mode with that, let's do a shade or smooth. And there we go. I think I'll leave the shape alone now, something like that. Maybe I'll just pull that more into position, and there we go. That's all I need. Okay, let's press one to get the orthographic view, and let's press Alt D and Z and bring a copy down no to our second door like this. And let's grab both of these now, and let's go ahead and press Alt D and X and bring another two over like this. And let's go ahead and press Alt D and X and pull another one over. I like this. And there we go. That's cool. Okay, so we've got everything in place now. Let's hit the forward slash key. And there's our oven complete. So I think that was definitely worth it. It's been a few lectures this to get this right. I think this is the eighth. Correct me if I'm wrong. I'm not sure. But I think that's really cool. Let's put a big wow factor in our kitchen. I think that's looking great. So in the next lecture, we've got a bit more work to do in this little chimney alcove. I want to put a mirror in the back here, which just should add a feeling of more space in our room. And we have, like, an extraction hood to put in in this area here and sort of this ceiling area of our chimney. All right, so let's do a save. Let's press Control and save our progress. Yeah, yeah remembered. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 47. Lecture 46 The Cooker Hood Part 1: Hello, and welcome now to Lecture 46. And in this lecture, let's carry on sort of doing things with our chimney alcove here. We need to put the extraction in. So there's a few features on that, so that might take one or two lectures, and we have a little mirror to put in behind just to add some depth to the room. Okay, so let's start with the extraction. I think that's the best place to start. So I think, first of all, let's bring the origins closer to where we're working. So let's just select the chimney, tap into Edi mode, press three so we can select aces, grab that one there, and press Shift and curse it to the selected. And there we go. Now we've got the origin in the best place for us. Let's create a new sub file in our outliner. Let's click on scene Collection and AddFle. Devil click on it. And let's call this the Cooker Hood. And there we go. I'll hit Enzo and we'll keep that selected. Okay, so I think the next thing we can go ahead and do is let's just isolate our chimney for a minute. I think that's all we need. So let's hit the forward slash. And let's press one to see this from the front. And let's press Shift A, and let's bring in a cube. I think let's straightaway tap into Edit mode with that. Let's press one so we can select vertices. And also, let's go into wireframe. And let's get this thing where we want it. So I'll grab these vertices here first and bring them so they're just inside the chimney alcove like that. Grab these ones and do the same. Just bring those inside the chimney alcove. Let's set that up nicely, something like that. And let's just check those ones. And maybe I'll just grab those ones again and just position them a bit more accurately and put them something like a Let's grab these upper ones now and bring those down and position those just above the alcove, just like that. So there's the edge, like the ceiling of that alcove, if you like. So I've gone just above it. And let's set some thickness to this extraction now, so I'll go ahead and make that. Something like that, I think. Okay, let's press three, to see it from the side now. Let's grab the, the vertices at the back and bring those forward. So they're inside the chimney alcove. Now bring them back into position like this. Let's grab the ones at the front, and let's bring those back, but I don't want to put them inside. I want a slight overhang, so let's press Z now and go back to solid, and you can kind of see what I mean. So I'm thinking it should look something like that, just sticking out slightly. Okay, so that's cool. So that's what's next. Let's maybe just isolate this object, so we'll hit the forward slash, bring everything back, and then hit it again to isolate it. And now let's create, like, a lipping going around it sort of an area that sticks out a bit. So let's tap into Edi Moe press two to select edges, select that edge there, press Control, put a loop in, and then bring that down now to something like that. Okay, let's press three so we can select faces, hold hold, move to the corner here and click. Now let's press E. Now let's press S to scale. But let's not scale in the z. So let's press shifts to omit the Z axis scaling and now go ahead and scale that out a little bit like this. Let's just grab this front edge and pull this out a little bit more to something like that. There we go. And let's tap out of edit mode with that, the scales all good. So let's go ahead and add a bevel modifier to this. And let's add an extra two zeros to the right at the decimal point. And let's go ahead and put segments on four. And I think I'll go ahead and up that 1-2 in the amount. There we go. That's cool. That's what I want. I think we'll go ahead and apply that bevel modifier. I don't see me wanting to change anything. And let's go ahead and bring everything back for a moment. So there's our sort of Cooker Hood. But I want to add, like, a crown detail to this. So I'm going to go ahead and make a copy of these kind of crowns and then wrap it around the front edge of our extractor. So, what to do now? Let's go ahead and grab Whoops, maybe this crown and then this crown. And let's go ahead and set the origins to the geometry. And let's go ahead and press Shift and Y and go ahead and pull a copy forward now like this. Okay, so now that we've done that, let's grab our cooker, sorry, our chimney and our extractor and our little cornice detail. And let's go ahead and hit the forward slash to isolate those objects. Now that we've done that, the next thing I want to do is, like, put a cornice or a detail, like a crown molding on the top of this. And to do that, I'm just going to make some copies of the ones that we've got on the cabinets and then make them fit around this. So let's go ahead and grab maybe the ones that's here, these two. And let's go ahead and press Shift D and Y and bring a copy out like this. With those selected, let's go ahead and maybe also grab our new Cooker Hood and our chimney, and let's go ahead and hit the forward slash. Okay, we can go ahead and put these two moldings here in our Cooker Hood grouping, so let's press M, and let's go ahead and drop that into the Cooker Hood group. There we go. Okay, so let's grab these two now, and let's do a rotate. So let's press Z. No 180. Enter, and there we go. Okay, so now what? Let's go ahead and press seven to see this from above. And let's go ahead and pull this in position now and set that way we want that to be. So we can bring it in like this and bring it over in the X, and just take a minute to position this. So let's press G and X and bring this over like this. And now let's press G and Y and go ahead and take it back like this. And let's have a look at that, see how it looks. Okay, let's press one, and obviously, we need to bring it down, so let's do that. And drop that in position now on the front of our Cooker hot. And that's cool. So what do we need to do now? Obviously, we need to work on this side, so we haven't got one for this side, we don't have an angle that suits, so let's work on that next. So let's maybe grab this one, and let's press Shift D and Y and bring one forward like this. And now let's rotate it on the z. So let's press z90. But that's the wrong way, so I'll just hit the minus key to swing that round like that. Alright, so let's put this in position next. Let's press seven to see this from above. And let's go ahead and position this where we want it. So let's go ahead and press GY and take it back. Let's get a bit closer to this now. And let's press GY again and just bring it forward until it's flush here with the other one. And let's take it in. So let's press G and X and take it in towards the Cooker Hood. I like this. There we go. Okay, let's tap into Edit mode with this one, and let's press one so we can select vertices. Grab that vertices there and press Shift S and go ahead and put the cursor to the selected. There we go. Let's tap out of Edit mode with that. And now let's bring in a plane. So let's press Shift A and mesh, and let's bring in a plane. Let's rotate that in the Y axis. So let's press Y, 90, enter. And now let's go ahead and rotate that. So let's press R and then hold control to snap in five degree increments until we get 45 degrees, and there we go. That's cool. Let's press for a minute and just check that that's lining through on the tip, and you can see this piece here coming this way, and you can see this coming this way, and you can see them meeting nicely in the corner. So that's worked out nicely. Okay, let's go back to solid mode, and let's just see how that boat Boolean works for us. So let's grab this piece and check the scale of rotations out. So let's press Control A and apply rotation and scale. Let's grab this one now, and let's fix this one. Let's press Control A, apply rotation and scale. Let's grab this one, and let's add the Boolean modifier. Let's grab our little dropper and just click on this plane now like this, and that's cut bright. That's great. So let's go ahead and apply that. And we can go ahead and delete our cutting plane now. And there we go. We've got our sort of crown moldings around our Cooker Hood, around our extraction. So if we wanted to, we could maybe pick that up a little bit. So let's try and see where we best like it. We can either go really to the top like this or we could take it down a little bit, and then you can take it down to something like that. Let's see. And yeah, that works for me. But I don't want these to protrude into the sort of the chimney because that can look a little bit fake. So let's pull those back. So let's maybe grab these and this. And let's go ahead and hit the forward slash and then press it again to isolate them. And let's press seven to see this from above. And let's press seven and go into wire frame, and let's tap into Edit mode. Okay, so we've got this mitre going on here at the back. We've got this angle cut, so let's do something with that. Let's select all the vertices and let's press S, Y, and zero to square that back up again. And now we can go ahead and pull that back now and put that in position where we want it. So let's just see where that's supposed to be. And I think something like that would be about right. Okay, let's do the other one. Let's grab the vertices here and pull these out and put those as well. In position, something like that. Alright, so let's go ahead and bring everything back now. So let's hit the forward slash, and let's go back to solid mode, and let's tap out of edit mode. And there we go. We've got a basic Cooker Hood in position, and it's looking good. I think, personally, this crown molding still seems a bit high to me, so I'll grab this, and I'll just pull it down slightly on the Z axis like this. And yeah, I think I prefer that like that, no. Okay, so there's our sort of Cooker Hood in. So in the next lecture, what we'll do is we'll work on some grills on the underside of this and we'll work on a few spotlights and maybe the mirror, as well. We'll see how we go. Alright, so let's go ahead and do a save. Let's press Controls. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 48. Lecture 47 The cooker Hood Part 2: Hello, and welcome now to Lecture 47. And in this lecture, I want to add some more details to the underside of our cocker hood. I want to put some lure style vents in this, and I also want a couple of spotlights. So let's go ahead and see what we can do with that. So let us maybe just grab this on its own and let's hit the forward slash to isolate it. And what now? Let's tap into Edy mode with it. Press three, select that face there, press shifts and bring the cursor to the selected to put the cursor where we want it. And now we can tap out of Edy mode with that. I think next, let's go ahead and bring in a plane. So let's press Shift A and mesh, and let's bring in a plane. And now let's go ahead and press Control seven to get the underside view of that Cooker Hood. Alright, let's press S and scale down this plane and put this in position where we want it. So I think maybe scale it down a little bit more and put that something like this. But now scale it up just in the Y. So I'll press S and Y and go ahead and bring that up to something like. Okay, I'm going to press one so I can see it from the front, and I'm going to bring it down a fair way. We don't need it sitting exactly on our Cooker Hood just yet. And now I don't think we need anything but this plane, so I'm gonna hit the forward slash, bring everything back, and then press it again to isolate our plane. Okay, let's fix the scale on this. So let's press Control A and apply rotation and scale. And let's figure out how we're going to make a vent. Let's figure this out. So let's tap into Eddy mode. And let's press two so we can select edges and maybe grab this edge. Let's press Control, and let's put some loops in this. And how many do we want? I think something like that is about right, and that is 12 cuts. Okay, now select it on this edge and press Controller. And let's go ahead and put two in this way. Click once and click again. And before you click off, press S and X and go ahead and scale those to something like that. And with them still selected again, let's bevel. Let's press Control B, and let's go ahead and apply a bevel to these, something like that. Okay, so now what? Let's now hold Alt and select this one and then shift an lt and work our way down the line this way. And do I want the last one? I don't think I do. I think I'll leave that like that. And with those selected now, let's press Control B, and let's put ever so slight bevel on these, something like that. Let's press three so we can select faces now. And let's select these skinny little faces. And when you've got all those, right click and go ahead and delete those faces. All right, so I think the next, let's press two so we can select edges, and let's grab these edges here. So like one on each panel. Let's grab all of those, and once we've got them, let's go ahead and pull up like this. I'm not extruding. I'm just pulling up to something like that. There we go. That's cool. I think I want to delete this row of faces here. I don't think I need that, so I'll press three, and I'll go ahead and grab these here. And I'll right click and go ahead and delete those faces. And there we go. That's cool. That's looking good. Okay, so what's next? I think the next thing I want to do is add a solidify modifier to this. Let's tap out of Adi mode. And let's add a solidify modifier. Let's go ahead and add an extra zero to the right of the decimal point, click Enter, and let's maybe try increasing that one to What shall we try? Let's try five and Enter. And let's make sure even thickness is turned. Okay, I'm just going to hit this little compress icon like this, just to compress that solidify modifier. But I'm not going to apply it yet. Let's just play around for a minute because now I want to see if the bevel modifier is going to work for us. So let's add modify, generate, and bevel. And yet, it has. It has worked. But I get the feeling that I'm not going to be able to increase that bevel. I think it's restricted by the geometry we have and how close some of these curves are together. So I think I'll go ahead and apply that. I think the only other thing I could do is turn off clamp overlap. But that kind of compromises the geometry of the bevels and could give us some problems. So I think in this case, that is enough of a bevel. We could just try increasing the segments to maybe a three, and then we can compress this one for a moment. Whoops, no this one here. And now the next thing we could do is maybe just right click and apply a shade oro smooth. And then we could leave that now just like that. Yeah, I think I'm happy with that as a bevel. I think that looks absolutely fine. So when you're applying stacks of modifiers, it's always a good idea to apply from the top. So let's first of all, apply the solidify modifier, then the bevel modifier, and I'll leave the smoothing one intact. There we go. So let's bring everything back now so we can see where we are. And it looks like our little lure is upside down. So let's press y180, Enter. Let's maybe just select these two items and let's isolate again. And let's press one to see it from in front, grab our little lure and then pull that up into position where it should be, which is about like that. Okay, let's press Control seven to see this from the underside. Let's grab this and let's press Shift D and X, and bring a copy across now to the opposite side like this. Maybe just maybe bring this one in a little bit. And there we go. So there's our ures now in position, and they're looking absolutely fine. So let's next, let's work on our lights. So the cursor is a fine place. So let's press Shift A, and let's bring in a cylinder. Let's increase the vertices count on this to around 40. Let's press seven, and let's go ahead and take this out of the way a minute like this. And we could go ahead and press S and scale this down a little bit at this stage. Alright, what are we doing next? Let's fix the scale on this. Let's press Control A and apply rotation and scale. And now let's tap into Edit mode. Let's select this bottom face. And now let's press E and go ahead and extrude that down something like that. Okay, let's hold down Alt and just select the complete row of faces there. And now let's press E for extrude. Now let's press S. But now let's press Shift Z so that we don't scale up in the Z axis. And now let's go ahead and pull that out to create a kind of a lip on our cylinder. Alright. Now that we've done that, I think the next thing I want to do is let's just grab this face here and let's go ahead and insert just a tiny bit. So let's press I and just bring this in a tiny bit now like this. Okay, let's select this one here. So hold alt and just grab that. And now I'm going to press E and go ahead and take that up in the Z axis like that. Alright, now, what do we want? I think now, let's apply some bevels, so let's press two so we can select edges. Hold out and grab this one. And let's press Control B, and let's try beveling this. Maybe a bevel like that, and I'll roll the mouse wheel to get some extra segments in it. And I've got three segments. Maybe I'll just click on this here and add four, and there we go, that's fine. Let's do the same now with this one. Let's hold Alt and select this one. Now I'll hold Shift and Alt and select this one. And now let's try applying bevels to these. Let's press Control B and just put a little bevel on these now. Something like that, I think. And I'll leave that at four segments as well. Okay, so that's cool. So I think the next thing is, I need to sort of dome this. This is the light lens itself here, and I think I want to dome that. So let's press three so we can select faces. Grab this one. Let's press I and inset this a little bit like this. And now pull that down in the Z axis a little bit like that. Let's repeat that a few times. I'll press I, inset that some more or something like that, and then pull that down as well. Let's do that again. Let's press I and inset that. Now let's pull that down the Z axis. Something like that, and press I and inset and pull that down in the z. And again, I inset some more and pull that down in the z. And we're nearly there. Let's press I, inset some more and pull that down. And do I want to do one more? Maybe one more, press I inset, and then just pull that down again. And there we go, that's cool. So we've got kind of a rounded shape on this bit here. Okay, I think I'm going to apply a Subdivision Surface Modifier to this, but I think we just need to trick this out a little bit. So maybe now let's just add an extra loop to the top of this. I'll select this edge here and I'll press Controller, and I'll go ahead and bring this loop close to the top here like this. And I'll do the same on the bottom here. I'll press Controller, and I'll bring a loop down here like this. And maybe I'll put one or two in this so wrap here. Press controller, and maybe put maybe three loops in here. And is there anywhere else maybe here, too, as well. So let's press controller. Let's select this edge here, Controller, and maybe just two in here like this. There we go. That's looking pretty. Let's have a pile of added mode. And let's go ahead and add a Subdivision Surface Modifier. And that's already looking good. Let's right click and do a shade auto smooth, and there we go. That's our light. I'll leave that levels viewpoint on one, and I'll go ahead and apply that Subdivision Surface Modifier. That's looking, right. I'm liking that. So let's press seven now. And let's grab this and let's hit S and scale this down some and now maybe bring this in. And I think I need to scale that down some more. I'll press S and scale that down to something like that. Let's press one to see this in front. And let's go ahead and bring this into position like this. And let's take that over to about there now, like that. Okay, do I want to scale that down? I think I'm going to scale it down a bit more. Maybe something like that. Let's press one again and go ahead and bring that down again in the Z and put that in position, and let's have a look at that. And yeah, I think I'm happy with that. That's absolutely fine. So I think, in this case, I'm going to use the Boolean modifier to cut out where that lamp is going. So to do that, let's grab this one. Let's check the scale. It's all good. Maybe we check this one more time. Let's fix the scale on that. Let's press Control A, and apply rotation and scale. Grab this again, add the modifier, generate an boolean, grab our little eyedropper here and go ahead and click on this object like this. Let's find this object now and just for a second, hide it just to confirm that that worked and it did. So let's go ahead and grab this one now, and go ahead and apply that boolean. Let's bring that little light back. And let's select it, and let's right click and go ahead and set the origin to the three dcursor. Let's select it again. And let's press Shift D, right click twice, and mirror in the X axis, and there we go. So let's apply the Boolean modifier to this one now. So let's select this item, add Modifier generate and Boolean. Grab our little dropper and click on this. Let's maybe just go ahead and hide this for a minute, make sure it's worked, and it has. So let's select it again and go ahead and apply that Boolean modifier. And there we go. So that's our Cooker Hood done. Let's bring everything back and see what it looks like. So we've got our spotlights in place, and we've got our lubras in place as well. We did want to put a mirror on this back wall, so let's maybe just do this last little thing. Let's just select the chimney on its own and maybe this item as well, and let's go ahead and hit the isolate on those. And now let's go ahead and bring in a plane. Let's press Shift A. And let's actually bring in a cube. I'm sorry, not a plane. Let's press one and see this from the front. And maybe let's go straight into wireframe, and let's tap into Edi mode and press one for vertices. Select these vertices here, bring these down now just below the level of the Cooker Hood About here now, like that. Let's bring these low ones almost down to the floor, something like this. And let's grab these ones here, and let's bring these over. And let's leave a little gap because I don't want this to ever sort of go into the brickwork because then it looks really unrealistic. So I'll bring that to about there like that. And let's do the same on the other side. Let's bring this in and just put this about there, I'd say, like that. Okay, let's press three to see this from the side now. Let's grab these ones here and go ahead and bring those in like this and grab these ones here now and go ahead and bring this back to put a tiny bit of thickness to that mirror. There we go. I'll leave that like that. Okay, so now that we've done that, let's go ahead and press set, and let's go back to solid and maybe just grab this mirror and let's hit the forward slash to bring everything back and then press it again just to see it on its own. Okay, let's just add the bevel modifier to this. Let's add modified, generate, and bevel. And let's go ahead and add an extra zero to the right at the decimal point. And maybe let's just add one more. And let's increase the segments to maybe a three, and let's increase the one here to maybe a two and click Enter. And there we go, that's it. Let's go ahead and apply that. And there we go. Let's go ahead and bring everything back now. Let's hit the forward slash, and there we go. So there's our Cooker Hood complete with a mirror behind it. Okay, so let's go ahead and do a safe. Let's press Controls. And in the next lecture, what shall we do next? I think in the next lecture, let's we are going to animate this draw here. So this drawer is going to come out in our animation just to show us the detail and the quality of our drawers. So let's go ahead and build a drawer for this draw here. Alright, thanks very much. And I'll see you in the next lecture. Bye bye for now. 49. Lecture 48 The Drawer: Hello, and welcome now to Lecture 48. And on this lecture, let's do what I mentioned at the end of the last lecture. Let's make one draw behind this draw face here, this top drawer. The reason being, I want to show you how to animate a draw coming in and going out. And the other purposes, I want to be able to demonstrate the quality of the kitchen. And one of the sort of indicators of good quality kitchen is the drawer. So when we open this drawer, we're going to see traditional hand cut dovetail joinery, and we're going to see some beautiful sort of oak or ash. So that's the reason for sort of doing this drawer. Before we do that, I don't think we need this image here anymore, and you probably haven't got it. But if you have, just hold down the middle mouse wheel and pull this over to there like that. And then go ahead and click on View, go down to Area and close area. And there we go. And I'll pull this down. So this is about half and half. Okay, so let's make a start on this draw. So I think the first thing we need is I want this face here to be selected, and then also I'll whole shift and select this one. And I think for the purposes of this lecture, that's probably all we need. So we'll hit the forward slash and isolate those. Okay, so the next thing I want to do is currently, this draw face here is part of the entire component, so I need to be able to separate it. So let's tap into Edit mode. Let's press three, so we select faces. Grab this face here. Hold down control and hold down your plus key on your numpad to increase the selection till all faces are selected there. Once we've done that, we can go ahead and press P, and we can go ahead and separate by selection. And now no longer is this draw part of this. And as you can see, the draw has disappeared from the other side. And the reason being is because we use the lt D command to make a duplicate of this one. So that means the properties of this one are also linked to this side. It's not really a problem. Well, just grab this drawface here and maybe let's go ahead and set the origins to the geometry. Let's press seven, and let's go ahead and press Shift D and Y, and let's just go ahead and pull a copy over to the other side. And let's get that in position and put that where we think it should be, which is about there like that. Alright, now, so we have a separated draw face. Let's start work. So let's press seven to get this into the orthographic view. And maybe let's go ahead and press Shift S and bring the cursor to the selected. And now let's go ahead and press Shift A. And let's go ahead and bring in a cube. Okay, so let's start modeling that straightaway. So let's tap into Edit mode, and let's press and go into wire frame, and let's press one to select vertices. Grab these vertices here, and let's go ahead and pull those over to about here. And you can see this is the edge of the drawface here. So I'm going to put that about there. We don't want to exactly flush with the edge of the drawface. Let's go ahead and grab these vertices this side now and maybe pull those over like this to create a thickness to our draw side. And I'll make it about that thick. And then I'll grab these vertices and go ahead and pull those back so that they are in the end, sort of flushed there to the draw face. There we go. And now we'll grab these vertices. And we want these vertices here about halfway between this one and this one, roughly roughly about halfway. I'm going to go about Okay, let's press three now. Let's select the lower vertices, and let's take those up. And so here, this here is the bottom edge of our drawface. So let's bring these vertices down, so they're not quite flush. They're about that much distance between the bottom edge of the draw face and the edge of our draw side. Let's do the same with the top. Now, let's grab these, pull those down, and let's pull them up a bit overshot quite a bit. So there is the edge of our drawface. So in this case, I don't want them up here somewhere. That's just generally not right. I'll bring that down to something like that. So we've got, probably in the real world around 2.5, 3 centimeters between the draw face top and the actual draw carcass, the draw box. There we go. So that's got that. Let's press seven now. Sorry, let's press S, and let's go back to solid. And what else? I think this is just too thick, so we'll press three, select this face and just bring this over and consider where we want it. And I think that's about the right thickness now for the side of a drawbox. Okay, so now what do we want to do? I think what I'm gonna do now is I'm going to apply a bevel modifier to this. So let's just select this item, and let's tap out of edit mode, and let's look at the scale, and the scale is correct because we did all our sizing in edit mode. So let's go ahead and add a bevel modifier to this. And let's go ahead and add two zeros to the right to the decimal point, click Enter. And that's pretty much it. I don't want to round off these edges too much. Let's increase the segments to about three. There we go. And now I could leave this bevel modifier active And then each of the components would also carry this bevel modifier with them, but they'd be automatically adjusting as we resize. But if we did that, then we've got a lot of bevel modifiers to apply at the end. So I think, in this case, I'm going to go ahead and apply that and we just need to be mindful. As we sort of modify these components that we need to also look at the bevel modifier. We need to look at the bevels and make sure they're not sort of adjusted accidentally or changed. Okay, so now that we've done that, let's grab this. And the origin is center, so we can go ahead and press Shift D, right click twice, and we can go ahead and mirror in the X axis. And there we go. That's cool. So now we got two sides to our draw. I think now that we've done that, all I really want now is this, this and this. That's the only three components I want to see. So I'll hit the forward slash key once, which will bring everything back, and then I'll just go ahead and hit it again. Okay. So what's next? So we need a back to this, obviously. So let's do that next. Let's grab this one. Let's press seven. And let's go ahead and press Shift and X and bring a copy out like this. And let's go ahead and set the origin to the geometry. And let's go ahead and rotate that 90 degrees. And let's go ahead and take that back in the Y axis. And now let's go ahead and pull that over into position like this. Let's have a look at that and see what it looks like. Let's press G and Y, bring it down slightly. And let's have a look at it here. Let's go ahead and press G&X just bring it over a bit more to about there like that. Okay, so now let's go ahead and tap into Edit mode with this, and maybe let's press SID and go into wire frame. Let's press one for vertice selection. Make sure that we get all the vertices which are linked to these bevels now. And let's go ahead and pull that over now to the opposite side like this. And let's go ahead and position that correctly, which is about like that, I'd say. Okay, so we've got sides and we've got a back. What do we need next? So I think next let's go ahead and put in a base to this. So let's press seven and go back to solid for a moment and tap out of edit mode. Let's press seven to see this from above. And let's go ahead and being in a plane. So let's press Shift A and mesh and plane. Let's tap straight into Edit mode with this and make sure you're in vertice selection, grab these top vertices and bring these over and put those in position just about just about like that. Grab these ones and bring these over too. And let's just check that out. Let's put that something like that. And let's do the same on the sides now. Let's bring these into position. And let's do the same on this side. Put that one in position as well. And let's press seven to see this sorry, let's press one to see this from the front now. And let's go ahead and tap into wire frame with it. Let's press three, so we select faces, and just press A to select and now press E and extrude some thickness to this. Something like that should be enough. Okay, we can press A for all now, and then we can go ahead and bring this down on the z axis until it's something like that, I would say. Okay, so there we go. Now we've got a draw bottom in. We can go ahead and press Z, and we can go back to solid. Okay, it looks like the normals are flipped incorrectly on that. You can kind of see that that's just a different color, lot darker than the other components. So let's grab it. Let's tap into Edit mode, press A for all, press Alt N, and go ahead and flip the normals, and there we go, tap out of Edit mode with that again. Okay, what do we want to do next? I want some devi Oh, we also need one here 'cause we're going to show dovetails on this draw on this front edge. So to do that, really, we need one of these duplicated to here. So let's grab this one here, and let's press seven. Let's make a copy of that one and bring it down to here. So let's press Shift D and Y and bring a copy down now, like this. And let's put that one in position. About like that. There we go. That's cool. Okay, so now let's make some dividers to go in our drawer. So let's grab this one. And let's go ahead and press Shift D and Y and bring a copy out like this. Let's go ahead and tap into Edit mode with this one. And let's press S and go into wire frame. And let's press three to see this from the side. And let's go ahead and press one for vertice selection. Let's grab all the vertices for those bevels, and let's go ahead and bring those down so that the dividers aren't flush with the top of the draw, something like that, I'd say. And we can also grab the bottom ones now and we can pull those up so that they're sitting on the draw base. There we go something. I think the other thing I want to do. I'll just press three again is reduce the thickness of the dividers. They don't want to be as thick as the manger or sides or back, so let's go ahead and pull those over to reduce the thickness of the dividers to something like that. Let's go back to solid mode and see how that looks, and maybe I'll just reduce that thickness a little bit more, and there we go. That's cool. Okay, so I'll tap out of do mode with that. And, yeah, that's done. So let's press seven to see this from above. And let's make sure we're happy with the position. I think I'll pull that forward a bit more to about there. And now I'm going to copy this one, but I'm going to link it. So I'm going to press Alt D and Y and bring a copy back now to about about there like that. So between these now, I want to put more dividers going in the opposite direction so that you could put in your knives and your forks and your spoons and all the things here in the middle. And then this sort of divider here would be for your bigger kitchen utensils like ladles and serving spoons and whisks and the same there at the back. So let's go ahead and do this next. So to do this, let's press seven, let's grab this one now, and let's press Shift D and Y and bring a copy out like this. Let's rotate that, so let's press r90 Enter. And if I just scale this down now, it's going to affect our bevels. So let's go ahead and tap into Edit mode. And let's go ahead and press S and go into wire frame, grab all these bevels, all those vertices there and bring this up like this to about there like that, I think. Let's do the same on the back. Let's grab all these vertices and pull this back into position and put that there about there. Okay, let's press A for all, let's go ahead and bring that overno and put that about there like that. Okay, let's go back to solid mode now. And also, let's tap out of Edit mode. And let's go ahead and make sure that the origins are set to the geometry. There we go. And now let's go ahead and press Shift D and X and bring a copy over now to something like that, I think. Now I'm going to repeat that command, so to do that, I'm going to press Shift and just carry on pressing Shift to get this to the other side like that. And, I mean, it may not be in exact same gap, this side here to this side here, but actually doesn't look too bad. Okay, so we've got our dividers in our drawers, and that's looking pretty good, and all our bevels are applied to everything. Alright, so there's one last thing I want to do with this, and I want to put some dovetails on this here. So I think all we need now is maybe this one and this one for a moment. I'll probably end up copying this component back over to the other side in a little while. So with those two selected, let's go ahead and hit the forward slash to isolate them and press it again. Okay, so let's grab this one now, and let's tap into Edit mode. Oops. And let's press two so we can select edges, grab an edge here, press controller, and then go ahead and bring that back now to about like that. Okay, now we can grab this edge here, and we can press Controller. Let's roll the mouse wheels. And let's get, I would say about that many. Let's see how many that is. That's six. Do I want to make this an odd number? So I'll have one dovetail there, one there, one there. I think even numbers is right, but I'm going to increase that to an eight. And there we go. Let's go ahead and grab all these vertices here. And then let's take let's work this out. All of these ones here, and then these ones here, and then these ones here. Let's turn this around and make sure we've got all the vertices, those ones, those ones, those ones, whoops, and those ones. And then once we've got those, let's go ahead and take those up now in the Z axis like this. And put those about there like that. Once you've done that, let's go ahead and grab these vertices. And now these ones, and these ones here, and then these ones here. Let's check we've got them all on the opposite side. Grab these ones and these ones, and then these ones. And now let's go ahead and pull that down now in the z axis to something like That. Let's have a look at that and see how that looks. And yeah, I think that looks good. I think that's absolutely fine. Okay, so let's tap evading mode with that. And we don't see anything really at this stage of that. But once we apply textures to that, that'll make a lot more sense. Alright, so I think the next thing we can go ahead and do is bring everything back, so let's tap in let's hit the forward slash key. And for a moment, maybe, let's go ahead and hide this stone here, so I'll press H to hide that. And I just need to make a copy of that one and bring it over here. So let's grab this one here. Make sure the origin is dead center with the cursor here and it is. So we can go ahead and grab this one and delete this one. Grab this one here, and we can press Shift D, right click twice, and go ahead and mirror in the X axis, and there we go. That's cool. So again, maybe we'll just tap into Edit mode, make sure these vertices are all correct, and they look good to me. Okay, so there we go. That's our draw done. So I think in the next lecture, we've got one last little job for our kitchen, and that is the handles. We need to make a handle and we need to apply it to all of the faces, all the doors and the drawers. I think that's quite a cool thing to do, as well. That'll be one last thing to make our kitchen really pop. Okay, so let's go ahead and we'll do that in the next lecture. Shall I bring my stone back? I'll do that. Old H. There we go. Alright, so let's go ahead and do a save. Let's try and remember to do that. Let's press Controls and save our progress. And I'll see you in the next lecture. Thanks very much. Bye bye, Fen. 50. Lecture 49 The Handles: B. Okay. Hello, and welcome now to Lecture 49. And in this lecture, let's go ahead and make and then distribute our handles onto all our kitchen cabinets. And I think that'll be a nice little finish touch for all of those. But there's one thing I didn't do with the drawers or with the drawer in the last lecture, which I'd like to do. So I need to actually create a group and drop all the objects for that drawer into it so let's do that. Cause I think right now, those drawer components are living in this Cooker Hood file right here. So let's go ahead and organize those. So I think for a minute, let's go and hide. Let's just press H and hide the top like that. And now let's go to cabinets, open this one up, and let's hit the little AddFle icon, and there it is cabinet eight. Let's double click on that. And let's call that draw components. There we go. G ends on that, and there we go. So let's grab these now. This one, this one, let's go through and grab all of them. And that one and that one on the base, of course, and then this one here. And with all selected, we could either just drag them up in this case to draw components or we could press M, and we could go down to cabinets, and then we could go to draw components. But in this case, I think I've normally done it that way, so let's go ahead and just drag these up. So I'll hold down the left mouse button and just drag those into draw components like that. Okay, so that's got that a little more organized. Alright, so now that we've done that, maybe I'll just leave that top off for a minute. I don't think we really need that. In fact, all we really need is the cabinets. So let's go and hide the walls and door file, as well. And let's go ahead and hide the cooker and the Cooker Hood. So all we really have now is just the cabinets, and that's what we want. Is there anything I think the other thing I want to do, which is something. This is something I actually get trouble for in the real world. My wife tells me off all the time for leaving cabinet doors open, and I've done it here. So let's grab this door here, and the pivot point is correct. It's at the back. It's still correct. So let's just press Z, and now hold down Control and snap this. And look up in the left hand corner, you can see, at the moment, it's -45 degrees along the global. Carry on pushing that in till it hits -90. There it is, and now it's correct. Let's do the same with this one, we'll press and Z, hold down control, and then move this. And this time, it's in the positive and move this to 90 degrees. And there it is. There's a cabinet doors closed. Alright, so now where shall we start? I think I'm going to apply my first handle right here because the curse is already at this point, so it's a good place for it to start. So let's press Shift A, and I'm going to make quite a simple handle and mesh, and let's bring in a cylinder. I'll bring the vertices down in this case, and I'll bring it down to around 28. Now I'll rotate it in the Y axis, I'll press y90, Enter. Now I'll press three to see this from the side. And I'll press, and I'll go to Y frame. And I'll press S, and I'll go ahead and scale this down now like this. And we can see the dovetail draws out. So we get an idea of the size of this. I'll go ahead and scale it down a bit more to something like that, maybe. And let's go ahead and go back into solid mode now, and let's pull that forward. Maybe press seven to see this from above. And let's have a look at this. I think scale is quite important with this to make sure that we're looking good. So I'll go ahead and press S and scale this down a little bit more to maybe something like that is about right. I'll press seven again. And I'll go ahead and scale this up just in the X axis now. So I'll press S and X and scale it up, and I'll go again, S and X and go ahead and scale this some more like that. I'm going to press one on numpad to see this from the front and just consider the size and the scale now for a moment. So I think overall, I'm happy with that in the X axis. I think that's quite nice. It's taking up a nice amount of the draw because we need to consider it's going to be on the horizontal as well on these drawers. So I think that's good. I think I'm going to go ahead and scale it up just in the Y and the z or scale it down, sorry, but I'm going to leave it in the X. So I'll press S, and then I hold down shift, and I'm going to go ahead and press X, and there we go. And now I just want to scale it down just a tiny bit more. Let's see what that's like. Hopefully that's cool. Alright, let's press seven again now. And the next thing I want to do, maybe, is let's go ahead and bring the cursor to this now. So let's press shifts and cursor to the selected. And now let's go ahead and make a duplicate of this. So let's grab it and let's go ahead and press Shift D. And let's rotate that. So let's press r90, Enter. Okay, let's tap into Edit mode with that one, and let's press and let's go into wireframe. Let's grab all these vertices here now and just go ahead and pull these out like this. I'll bring those to about like that, and I'll grab these ones, and I'll go ahead and bring these ones in now to about there like that. Let's go back to solid mode, and I think the next thing I want to do, I'll tap out of Edit mode for a moment. I want to scale it down, but this time not in the Y, so I'll press S, Shoal down shift, and press Y, and now go ahead and scale it down in the Z and the XT something like that, I'd say let's have a look at that and see how it looks. And yeah, I think I'm happy with that. So that bit there is what's going to hold the handle away from the cabinet, and it's sort of the mounting place for it. So I want two of those. So let's press seven again. Let's grab this and move this over now to something like this. Let's go ahead and press Shift D and X, and just bring a copy over to the other side and position that as well. Oh, yeah. That's cool. So I think the next thing I want to do is let's have a look at the scale on this and it's out. So let's press Control A and apply the rotation and scale. And let's do the same for the other two. Control A, apply rotation and scale, and then this one as well. Control A, and apply rotation of scale. Let's tap into Edimde with this one, and let's press three so we can select faces. Grab this face here, and then press two, and we'll have selected that edge. Let's do the same with the other one. Okay, so now we've done that, let's press two so we can select edges, hold Alt and just select all of that edge, and then hold Shift and Alt and select all of this edge. Now let's go ahead and press Control B, and let's try beveling that edge. Let's add some more vertices to that, and we'll make it something like that, I'd say. So I've got four segments in there. There we go. That's looking good. And these ones, I don't think it's going to be necessary to bevel those, so we'll leave that. Okay, let's tap out of Edward with that, and let's right click on it, and let's shade Auto smooth. And let's do the same with the shade auto smooth. And then this one is what else? Shade auto smooth. And now let's go ahead and make this just one object. So let's grab maybe this one, this one, and then finally this one. And let's go ahead and hold down Control and press J and join those into one object. Okay, let's go ahead and find this now. And you can see by this little icon here that it's got this square around it that this is where this handle currently lives. So let's hit the drop down on this and find it, and there it is. And let's double click on it, and let's call it the handle. I'm doing that because we're going to have a lot of duplicates of this, so it'll be good to know what they all are. I think once we've done that, we can go ahead and just drop that just into the cabinet file. So I'll just go ahead and hold down the left mouse button and bring that and just put it into the cabinets file like this. So it's kind of its own place there it is. So I'll compress the drawer components now, and there's the handle. In fact, there's so many handles. I might even just create a file for this. In fact, I think I will. So I'll click on Cabinets and we'll hit the little ad file thing. And here it is, Cabinets nine. Let's get this. And let's call this the handles. There we go. And let's go ahead and drop that handle now into there like that. Okay, so now we've done that, let's go ahead and make some duplicates of this. I'll go ahead and press one, and I'll select this item here. I'm going to go ahead and press Alp D and Z and bring a copy down now and put it dead center of this one like this. I'll do the same again. I'll press Alt D and Z and bring a copy down now to the center of here like this. Okay, let's select both of these handles now, and let's go ahead and take those in until they touch that surface. I find the best way to do it is you can see, by the way, the color changes. You can see that there that they're already making contact with the surface. So I go past for a second, and then I pull it back, and it gives me a good gauge of where I need to be. And there we go. That's cool. Okay, so now that we've done that, I'll go ahead and take this top handle here and I'll press one again to get us the orthographic view. And let's go ahead and press Alt D again and X, and bring a copy over now like this. And let's go ahead and rotate that. So let's press r90, Enter, and then go ahead and bring that one down to something like that. Let's go ahead and press Alt D one more time and X, and let's bring a copy over now to the other side like that. And there we go. That's cool. So we can do now with making a set exactly the same and putting them on this side. Okay, so the next thing we want to do is maybe grab all these handles like this. And let's go ahead and make a copy of those. So let's press Shift D and Y and bring a copy out like this. And now with them still selected, let's rotate them. So let's press rz180, enter, and let's go ahead and take those now to the opposite side like this. And let's go ahead and put those in position. So let's just pull those out on the Y axis until they look about right. Which is about there like that, I'd say. Okay, so that's all the handles down the island. What's next? Let's maybe grab just like this handle here now. And let's press one to see this from the front. And let's go ahead and press Alt D, in this case, and X and bring one over like this. We can press seven now to see this from the top, and we could bring this over now like this. Oops. And we could press S and go into wire frame. And go ahead and position this one now. Where does it does want to go there actually? He wants to go here, put it here on this side. And let's have a look at that one now. Let's press three to see this from the side. And let's take this up like this. And put that I would say about there like that. And let's press one to see it from the face and center that to there like that. Okay, that's cool. Let's go ahead and press Alt D now and X and bring a copy over now to here like this. And now let's select both handles, and let's go ahead and press Alt D again and X and bring a copy over now to here like to there, I think that's and this one doesn't seem quite centered, so I'll just go ahead and grab this one on its own and just pull that back a little bit more in the X, and let's have a look at those. And they're looking good now, so I'll grab these four handles. Oops. There it is. D select that one. And now let's go ahead and press Alt D, and X and go ahead and bring a copy now over to this side now like this. Let's go ahead and position those nicely. And there we go. Let's pros and let's go back to solid mode now and see how that's looking. They're looking good. I'm liking those handles. That's really adding the nice detail. So obviously, we've got a lot more handles to do, but I think I've shown you the process. We've set up the folder that it needs to go into, and we've closed the doors on the cabinet, and we've created a nice amount of handles and duplicated them around. So all that really remains is to carry on distributing the handles onto the faces of the drawers and the cabinets all the way around these ones as well. So here, maybe you'd want one here and one here since this is a fixed rail here. One horizontally here. And of course, you've got the ones for the drawer here and the cabinets here and maybe just scale down the version for these ones so that they're not quite so long. Okay, once we've all done that, let's go ahead and meet up in the next lecture. Don't forget to do a save after. All right. Thanks very much. I'll see you when we've all done that. Bye bye for now. 51. Lecture 50 The Lamps Part 1: Hello, and welcome now to Lecture. What lecture are we on? Lecture 50. Wow. We're getting through these though. We basically we're at a stage where we're almost at the end of the modeling. We've just got a few little last things to do, and then we're going to start moving on to the texturing. Maybe three or four more lectures, and we're sort of done with the modelling. But I'm getting ahead of myself. Let's get the last, the modeling done first. I'm always excited this stage to get to the texturing because at this stae everything really starts to pop, and I love that bit. But anyway, let's carry on with the modeling and just get this finished. So we've got all the handles in position now, and they're looking good. And I'm sure you've done the same. Got sort of two handles on this cabinet and on this cabinet, a little horizontal one on that. And I reduce the width of the handles on these little narrow drawers here. But, yeah, they're all in position. So in this lecture, I've brought the image editor back in because I want to show you these lamps because this is what we're going to do for this lecture and possibly the next one. So I just wanted to show you the basic shape of them before we start. So let's go ahead and make a start on that. So I think the first thing I want to do is go ahead and create a new folder. So I'll go ahead and collapse the cabinets folder. And I'll click on scene collection, Add New folder, double click on it. And let's call this the lamps. And whoops capitals on. Sorry. Click Enter. There we go. Leave that selected and go ahead and select this now and press shifts, and let's bring cursor to the selected. There we go. I'm sorry, I'm going to click on the lamps again. And once we've done that, let's go ahead and bring in a sphere. So let's press Shift A and mesh UV sphere. On the segments here, I think I'll go ahead and leave that a 32. I'll be happy with that. So let's press one to see this from the front now. And let's try and scale this down. So let's press S and scale this down some and maybe bring it up to approximate height, something like that. And then kind of figure out what size we want our lamp to be. And I think that's actually not too bad. I'll leave that just about there. Okay, once we've done that, let's tap into Edit mode with it. And let's press three so we can select faces. Let's press Z and go into wireframe. And let's go ahead and grab those vertices there like that. And let's press X and go ahead and delete those faces. Okay, so we've got kind of this shakedown. We can go back to solid mode now, so I'll press SD and go back. And the next thing you want to do is select this ring of faces here. So I'll select one like this and I'll whole control, move along to about there and select that and just move along until you put all those selected. Once you've done that, let's go ahead and press E to extrude and extrude that up in the z axis to something like that, I would say. There we go. So there's our basic lamp shape. It's that easy. So now that we've done that, I just need to sort of taper the neck in in the middle and to give it a kind of waist to line on the neck. So let's do that. So let's press two, grab an edge there, press controller to put a cut loop in, and let's scroll the mouse wheel to put two in like this. Let's hold Alt and select this one, and now take that one up close to the top like that, and now hold Alt again and grab this one kind of bring that one to the middle like that, and then press S and go ahead and scale that down to get something more like that. There we go. That's cool. Okay, let's tap out of Edit mode, and let's check the scale and it's out. So let's press Control A and apply rotation scale. And let's add a Subdivision Surface Modifier to this. So let's add modifier, generate and Subdivision Surface Modifier. Let's increase the Yeah, let's increase the levels view book to two and see how that looks. And that just rounds off that top edge nicely. Okay, so the next thing we can do is maybe do a shade auto smooth. So that's right click and shade auto smooth. And let's try increasing the angle just to get rid of that little square edge there. And yes, there we go. That's that rounded that edge off now. That's cool. That's looking good. So I think the next thing I want to do is add some thickness to this. So let's grab it and let's add another modifier, generate whoops, and let's add a solidify modifier. And that's looking good. Am I happy with that thickness or shall I reduce it? Maybe I'll reduce it a little bit. So I'll add an extra zero in here, enter, and let's turn that one into about a six. And there we go. That's better. Make sure that even thickness is applied. And there we go. Let's go ahead and apply these modifier. So I'll start at the top. Let's apply the Subdivision Surface Modifier, and then let's go ahead and apply the solidify modifier. Let's select it again and let's tap into EdmaHo mode. And let's just round off this edge and this edge. So let's hold Alt and select that one, then hold Shift and Alt and select that one. Let's press Control B, and let's bevel those edges slightly to something like that, maybe reduce it a bit. There we go. That's about right to me, something like that. We'll leave it on three segments, and there we go. There's our basic lamp shape. Okay, so now we need something to hang this lamp from. Let's work on that next. So I think the first thing I want to do is bring the cursor to the center of the top of this lamp. So let's select it and tap back into Edit mode, and let's find that center vertices. So let's press one so we can select vertices. Grab that middle one there. Let's press Shift S, and then cursor to the selected. There we go. That's cool. So we can tap out of Edit mode with that now. And the next thing I want to do is go ahead and bring in a circle. So let's go ahead and press Shift A and mesh and circle. In fact, let's go ahead and isolate these objects now. We'll just have these two. So let's select them both and hit the forward slash. Let's press seven so we can see this from above. Let's just select the circle now, and let's press S and bring this down now to something like that for a second. We'll probably scale it down a bit more. But first, let's just scale it down on the X to turn this circle into a bit of an oval shape. So let's press then X, and bring this in like this to get a bit more of an oval shape like that. Okay, let's rotate that in the X axis now. So let's press RX 90, enter, and let's scale it down till it fits onto our top here. So let's press S again and go ahead and scale this down until it looks something like that. I think that's cool. Alright, so the next thing I want to do is turn this simple circle into more of a have some thickness to it to turn it into a link, a chain link. So let's select the item, and let's right click and let's go ahead and convert this to a curve. Soon as we did that, this little icon turned up here in the object data properties, let's click on that. And let's come on down here to bevel settings, and let's go ahead and increase the depth on this to get some thickness like that. And our shape isn't perfectly circular. I think it's because our scales out. So let's press Control A, and apply rotation and scale. And yeah, that'll fix. Let's up the resolution slightly maybe to a six just to get a bit more detail on it. Am I happy with that? Maybe I'll take it down a little bit more to something let's zero out and have a look at it. Maybe I'll scale it down a little bit more, press S and scale that down. And maybe I'll just reduce the depth on this. Maybe that's too much. Let's have a look at that now. And yeah, I think that's nice, though. I'll leave that like that. Okay, so once we've done that, maybe we'd go ahead and name this. So let's call this chain link. Let's call it chain link. So I'll go ahead and type that. And go ahead and press Enter, and there we go. With that done, let's go ahead and make a copy of that. So let's go ahead and press Shift D and then Z and bring this up like this until it's nearly touching the other one at the very, very center like that. In fact, let's take it a bit more. I'll go ahead and press G, and then Z go ahead and take it up a little bit more to about there. And now I want to rotate it 90 degrees. So let's press rz90, Enter. All right. That's cool. So let's actually grab this one now, and we can go ahead and convert this one back to mesh. So let's right click, convert that back to mesh like that. And now let's go ahead and do a shade or smooth on that one. And there we go. That's looking good. I think this one, though, I want to reduce the size on this one. So I'll just press S and go ahead and scale that down to something like that and then bring it back into position like this. And do I want to increase the depth on this? Let's have a look. Let's just click once. Maybe take that to an eight, and there we go. I think that's pretty cool now. Alright, I'm going to go ahead and convert that now to a mesh, and let's go ahead and do a shade oro smooth on that. And now that we've done that, let's go ahead and grab this. And let's go ahead and make a copy. Let's press Shift and Z and bring a copy up now to about there like that. And now let's rotate that in the Z. Let's press Z, 90, Enter. Okay. That's cool. Let's go ahead and check the scales on these. Let's grab this one. Let's press Control A, and let's do a rotation and scale. I'll grab this one. Do we need to do the same we do? Let's press Control A, and do a rotation and scale. Now I want to join these items into one. So I'll select both of them, and I'll go ahead and press Control J and join those into one item. Okay, now we need to take this chain up until it's all the way to the ceiling. So I guess we need to bring back the ceiling. So let's open the roof, the walls and windows and doors folder. Click on this. And let's go ahead and bring back the roof panels like this. Oh, let's hit the forward slash to bring everything back first. Alright, so what do we want to do now? The next thing we want to do is maybe grab this chain like this. And I want to add an array modifier to this now. I'm not sure if we've used the array modifier or not. What the array modifier does is multiply an object in an axis. So we're gonna multiply in the Z axis, and well, you'll see it in action, Disney. So let's add the array modifier. So let's go over to modifiers and add modifier, generate and array. And you can see it's already duplicated the object, but it's duplicated in the X axis, and that's not what we want. So let's take the X axis to zero. There we go. And let's try taking it up in the Z axis now. Just click the little button there and take it up like this. And how is that looking? Obviously, that's out. Let's come down one. And that's just see a little gap there. Let's see if we can better that. So double click on this and just add a five behind the nine. There we go and click Enter, and let's see how that looks. And that's a lot better. Maybe we could make that a four. Let's try that. Make that five a four and see how that looks, and there we go. I think I'm happy with that. Or, I'm sorry, let's take that to a three. That would look even better, wouldn't it? Let's click on that four and make that a three and click. And there we go. Now I am happy with that. Once we do that, all we need to do now is go ahead and increase our selection, increase our count. So just go ahead and click on this now and take that to the top. And I think we'll just let it go ahead and fly out of the roof. And there we go. That's cool. So once we've done that, we can go ahead and apply our array modifier. Okay, so I think we'll call it a day with this lecture, but in the next lecture, we'll add some more details to this. I think what I want to see is a cable sort of weaving its way up the chain. I think that would be quite a cool effect. And this doesn't look right here. We need to add, like, a little detail up here, just where the chain fixes to the ceiling. So I'll go ahead and do that, as well. And then, of course, we'll make a copy of this, and we'll go ahead and put that either side of the island, one here and one here. Okay, so let's go ahead and save our progress. Let's press Controls. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 52. Lecture 51 The Lamps Part 2: Hello, and welcome now to Lecture 51. And in this lecture, I want to have a power cable which runs up this chain. But not only does it run up this chain, it kind of weaves through it, as well. So let's go ahead and do that in this lecture. See how we go. So I think the first thing I want to do is, let's go ahead and just grab the chain on its own and the lamp, and then maybe that little extra link there. Let's go ahead and isolate that. And let's go ahead and press one. And let's just sort of get this in position, something like this. And now that we've done that, let's go ahead and bring in a path curve. So let's press Shift A. And curve and path curve. Soon as we got that, let's rotate that. Let's press r90, enter, and let's go ahead and take that up to sort of the top of the chain like this. And where is the top of the chain? It's kind of hard to find, but it's about there like that. Once we've got that, let's press S and start scaling this down. So it's really quite short, something like that. And now we can go ahead and tap into Edit mode with that. For the moment, I'm actually going to go ahead and delete maybe these first two vertices. I'll grab those two and then I'll right click and I'll go ahead and dissolve those vertices though. Now at the moment I'm seeing it looking down the Y axis and I need two views on this. What I'm going to do is just come over to this corner here. As I sort get close to the corner, just hold down the left mouse button and drag this across like this to create a second window like this. Now, in this one, just select the chain. Let's tap our meta mode, actually. And let's go ahead and select the chain and our curve and our lamp. And with those things selected, let's isolate that view as well. And you can see here we're looking down the Y axis as well. So let's press three N to look down the X axis. So now we're looking at it from two angles, and that's what I want. Okay. So now what do we do? Let's select this one here. Let's select our Path curve. And let's tap into Edit mode. And so now they're both in edit mode. Let's go over to object data properties, and let's come on down to the bevel, and let's go ahead and click on this to put some diameter to our path curve. Let's zoom in and see what that looks like, and there we go. That's cool. So I think the first thing I'm going to go ahead and do is just pull this over a little bit like this. And then I'll go ahead and press E to extrude an extra vertices, and I bring this down and then come along like this. Putting in quite a few vertices as we go. Now let's have a look at it and see how it looks in this one. And what I want to do is come through this link here, I think. This will be the first one. So we can actually just maybe grab all of these here and just shift them over slightly to about there like that. And there we go. That's sort of the first jumping off point. Alright, now that we've done that, let's just grab this link here and let's press EFA extrude and just carry on pressing it. And then just go ahead and weave through that leg, and then come on down again. And I'm not going to do every one. Okay, I'm just going to bring this screen up a little bit. I'm going to press E, and now I'm going to angle through this one like this and then carry on bringing it down. And now I'll sort of angle through this one. And I'll carry on ing this down. E, E, E, and now on this one, I think I'll angle through this one. Maybe bring that a bit closer. There we go. If I don't do enough vertices in this, I'm going to get sudden sharp angle changes in this curve, and it's going to look unrealistic. So by putting lots of vertices in, we'll have nice sort of realistic curves. So let's carry on going with this. It might take a moment. Let's press E, bring this one down. And I think I'll go through this one here, lots of vertices to make sure we don't get too sort of a sudden angle change on this. And now on this one, just carry on going down. And I'm just going to pull the screen up and let's go ahead and go through this one. So I'll press E. Bring that through there like that. There we go. And then bring this one down here. Carry on going. And I think I'll come through this one here now. Move Whoops. Move the screen up like this, and press E. Maybe come through here now. There we go. And let's go ahead and bring the screen up now, and let's go down some more and more press E. Carry on extruding. Maybe now let's come through here like this. Ah, let's bring this down some more. And let's go ahead and brush E. And maybe let's bring this through here. Bring this down some more and press E. And let's duck through here now. And let's carry on going. Let's press E. Bring this one down. Maybe duck through this one here and out like this. There we go. And there we go. Finally, we're getting down to the lamp. Let's press E. And maybe duck through this one. Bring that through the center like that. So let's have a look at it here on this side and just see that it makes sense. And if you ever want to sort of just to make it look slow, more realistic, just tweak it in places, but I wouldn't make any sudden sort of drastic changes like this. I'd make them all quite subtle. Just to give it that extra level of realism, because, you know, it's a power cable. It's never going to be sort of perfectly straight. There we go. Maybe here, pull this one in a little bit. And yeah, I just add a few details to it to try and make it a bit more sort of realistic. Maybe one here like this, pull this one in a little bit here. Little subtle changes. And let's see how that looks. And it actually looks like the whole thing wants to go over. So I'll go ahead and tap out of Edit mode for a moment now. And let's see if we can find the gizmo. And it looks like it needs to just pull over a little bit, so I'll go ahead and pull that in like this, though. And is that good? No, that's better. That's kind of pulled in, now, and that's looking really good, see? Sort of weaving through as we go. And, yeah, that's looking good. It does take a little bit to get this looking right. I think now we've got it. That looks really good, weaving through, check that it's sort of in the right place, and that's looking good. Woof. That's cool. I was worried for a minute there that it wasn't working, but it seems to have worked nicely. Okay, so let's grab this, and let's consider one last time the diameter, the depth here and the bevel. Do we want to reduce this a little bit? Maybe bring it down to an eight? Or a seven, is a seven looking good? Let's zoom out and have a look at it. And I think that's looking good there like that at a seven or maybe an eight. I think I'll go with an eight. Okay, let's just go ahead and tap into Edit mode one more time with this. Maybe let's go into wireframe and just have a look at the vertices count on this. And let's have a look at bringing down the resolution preview to maybe a six. Here in this resolution, as well, maybe just match that with a six. And now let's tap back into solid mode to see this. And just see how that's looking. Are there any sort of sharp turns to this, or is it all looking quite fluid, which always seems to be here. There's nothing there's no jagged curves. Everything's just looking quite sort of natural, and that's what I want. Yeah, I'm happy with that. That's cool. Okay, I'll tap out of Edit mode, and then I'll right click and I'll go ahead and convert that to a mesh, and there we go. There's our cable now in position. Okay, so I think the next thing we can do is go ahead and bring everything back. And with this one, as well, let's go ahead and bring everything back and see what we've got. Okay, let's go into wire framing this view here. And with everything selected, do we have this little link here, as well? Let's grab that one, too. Let's go ahead and press Let's press Alt D and X and bring a copy over now to about here like this. And let's do the same again. Let's press Alt D. And X and bring another copy over to about here like this. Okay, so now we've got our three lamps in position, and that's cool. I think this window now we don't need anymore. So go up here to view and click on this. Come down to area and close area. There we go. Back to One view again. That's cool. Okay, there's one last thing I want to do. Well, first of all, I want to see the roof structure in place here. So let's come to roof structure here outliner and turn that on. And yeah, everything's looking good. I wondered if we'd put like a beam down the middle here of the ridge, but we haven't, so that works out. So I think the next thing we can do is go ahead and bring in a sphere. So let's go ahead and press Chef A and mesh, and let's bring in a UV sphere. We can kind of keep the vertices quite low at around 26. And with that now, we can go ahead and isolate that. We can press one to see it from the front, and we can go ahead and tap into Edit mode and we can press this head, and we can go into wire frame. Let's press three so we can select faces. And let's go ahead and delete maybe this many faces. Let's press X and go ahead and delete faces. There we go. We can tap out of Edit mode with that and we can go ahead and bring everything back now. And let's press one to see this from the front. And let's go ahead and bring that up like this. And let's press S and scale that down, of course, to something quite small. Let's go ahead and sort of put that in position now, something like that, I think. Let's press seven to see this from above. And yeah, that's in the right position. It's directly beneath the lamp. Let's press one again. Maybe just press S and scale it down a little bit more again and just bring that down a little bit on the z to about there like that. Okay, so let's go ahead and press Shift D now and X and bring a copy over like this. Let's bring that down like this. And let's go ahead and rotate this now. So let's press R and rotate that like this. Bring this over slightly and bring it down, and there we go. That's cool. Let's do that one last time. Maybe we'll just grab this one and we'll press Shift D and X and bring a copy over now to this side like this. And let's go ahead and rotate that as well to something like this. And now let's just sort of shift this around a little bit until it's kind of center. And there we go. That's cool. Let's grab everything to do with the lamp. So I'll grab that swoops. That's lamp. That's Control D like that. Grab that and then this and these here as well. And all of these and this. And let's just see where this is in the outliner and make sure that it's all in lamps which it is, so that's cool. Okay, so that's kind of that done. Let's press Z, and let's go back to solid view. And yeah, there's our lamps in position, and I'm really pleased with those. I like that cable and the way that's looking. Okay, there's something wrong there. I see that now. I think what I've gone ahead and done is sort of leveled up these things here with the underside of this beam, so that's not correct. So let's grab this one and this one. And let's press one again to see this from the front. And let's go ahead and pull these up into position like this. And how is that looking? Is that better? These will never really be seen, so I'm not overly worried about them. They're just something just to look a little more convincing, but I'm not overly worried. And that's that one there. And then, yeah, that's fine. We could go ahead and do a shade oro smooth on these, actually. Grab this one, shade auto smooth, and then this one, shade auto smooth, and then this one, as well, shade auto smooth. And there we All right, so there's our lights in place, and that's looking really good, actually. Let's go ahead and bring stuff back. Are we missing anything else? Let's bring the cooker back in and the Coker hood. And let's look at our scene overall for a minute and see what we think. I think that's looking really good. I think at some point, we should scale down these beams, not in Z obviously. We don't want to adjust the height, but we do want to sort of scale them down in the Y and the axis. And then I want to also put a beam going up to this one here because that would make more sense why that beam would be there. It would be carrying the weight of this truss above and the same here. So we'll do that. And I'd like to put some sockets on the back wall here, some power outlets on both sides, just to add an extra little detail. And then after that, we have curtains to put in here, where our bifolding door will go, so let's turn that on. So there'll be some curtains just covering the corner of this bifolding door and doing the same on this side as well. And then the very final last little model detail will be to put something on the outside of this bifolding door, a little bit of decking or a patio. Also a wall coming this way to suggest when you're standing in the kitchen that there is actually a house and not just a kitchen, that this is part of a larger house. So we'll put a kind of returning wall in here with no other details just to suggest that there is more than just a kitchen. So I think it's looking awesome now. It's looking really good. We've got a really, populated scene. So in the next lecture, let's go ahead and put our extra sockets in in our back wall and maybe as well scale down these beams. Let's do that in the next lecture. All right. Thanks very much. I'll see you in the next one. Oh. Let's do a save. Let's press Controls and go ahead and do a save. I'll see you in the next lecture. Thanks very much. Bye bye for now. 53. Lecture 52 Refine The Roof Beams: Hello, welcome now to Lecture 52. And in this lecture, I want to have a lecture of kind of refining our roof structure, our beams and everything because these are such an important feature of our finish render. They will look really good. So let's spend a little bit of time making sure that they're really as good as they can be. The things I want to do is these columns, I think, aren't proportionate in scale to the rest. So when I reduce the scale in these, and of course, these ones on the end, as well. And we have a little bit of repairs to do to our joinery. These beams here are coming up short. And there's a few other sort of changes to make in the corners here. I want a vertical sort of beam to run up from this point here to this upper sort of joist here, this truss, this roof beam. Because architecturally, that'll make a lot more sense because at the moment, these columns truly aren't supporting anything. So if we send a vertical one up here as well, this will make a lot more sense structurally. So let's go ahead and do that so that it's looking right. And the other thing I want to do is way back there at the chimney. At the moment, this one here and this one here are sort of flying into the brickwork. That's okay, but I want to create holes in the brickwork for these kind of beams to run into because it's one of my sort of things that really bugs me is when objects just fly into each other, but they're not cut through when we apply textures, they just don't look very realistic. We need those tiny little shadows to exist between surfaces to create more depth and more realism. So let's go ahead and cut these into the brickwork rather than them just occupying the same space. So we'll do that as well. So let's have a lecture of tidying up our roof structure so that it really pops when we render it. Okay, so let's go ahead and make a start on that. So I think first thing is we need to isolate just a few items. So I think straight away, let's go ahead and hide roof lights on our small windows, side door, roof panels, let's hide those. We need the chimney. We can even hide our walls. And then we can also hide our kitchen cabinets and cooker and our cooker hood and our lamps. So that's kind of all we've got left in our scene. So where shall we start? I think let's go ahead and start here with our chimney. Let's fix this first. So let's grab the actual brickwork, the chimney here, and let's look at the scale, and that's all good. And let's go over to our modifiers tab here, and we have a bevel. Let's just compress this just to give us some space. Let's add a modifier and generate, and let's go on boolean. Okay, let's actually just hit get the little dropper, and let's just select this beam here like this. And I can't tell if that actually works. So I think I'll just grab this joist here, go to roof structure, find it, and go ahead and hide it for a minute. Check that that worked. And it did. That's fine. So we can go ahead and bring that one back for a minute. And let's repeat that. Let's grab this again now. And let's go ahead and apply that boolean. And let's just add another boolean to this. And let's get the little dropper. Maybe we'll put it on this one this time, and I can see this time has actually worked. So I'll go ahead and apply that one. We've got one more to do for this one here, so let's go ahead and add the boolean modify one more time, and we'll hit our little eyedropper and we'll select this one like this. Let's check that this one actually worked, let's hide it for a moment. And it did, there we go. So let's go ahead and apply that boolean. Okay, so I think now for a moment, we can actually hide our roof structures and see what we've got here. And let's go ahead and tap into Edit mode with this one. I don't think we need any of these face panel or these back faces, so let's select all of these. And let's go ahead and delete these. So we'll press X, and we'll go ahead and delete faces, and there we go. We can expand on that now. We can actually grab maybe this one, this one, and this one, and we'll get rid of these as well. And let's press X and go ahead and delete faces. And we've still got a few left. So I think I'll just go ahead and just grab those like that, and now hold down Control, Deselect those ones, and I'll press X and go ahead and delete faces. One more time. Grab maybe those ones and just deselect those and press X and go ahead and delete faces. There's even one there by the of it. Maybe that's a curve. I'll grab there. We go grab that one, and I'll press X, and I'll go ahead and delete edges this time. We'll get rid of these in a minute. Press X, and go and delete edges. There we go. We got rid of that. I want to do the same here. Let's grab these here and sort of deselect these ones here. So we just have those sort of ones there. I want to deselect that one, too. Go ahead and press X and go ahead and delete edges, and there we go. That's cool. That's what we want. We still have a bevel on there. Let's have a look at our bevel. Let's decompress this now. And let's see if we can increase this bevel. Maybe one of a slight more bevel detail on that. Maybe that's good. And we have four segments, and I think that's good now. I think that's looking good. We have a bevel on this edge. We've got bevels all around. I think I'm happy with that, and I'll go ahead and apply that bevel now. So I'll go ahead and tap out of added mode with this, and now I can apply that bevel. There we go. That's cool. So we've fixed the first thing. Let's go ahead and bring back our roof structures. And see what we can do beams with our columns next. Let's fix those. So I think, first of all, I'll go ahead and delete those three. Let's go ahead and press delete those one. So we just have the one. And let's select this now. And let's press S. Hold down, shift and press Z so that we're not going to scale it down on the z axis. We want to keep the height. And now I'll go ahead and just scale this down a little bit to something like that. There we go. That's cool. I think that's better. We could actually just for a minute, go ahead and bring back some of our walls, just to sort of get a feel for that and see if that looks about right. And I think that's better. I think that's looking a lot nicer. Okay, I think I'll leave the walls in position now for a while. So let's press seven to see this from above. And we need to reposition the other columns. So I think let's go ahead and turn on our reference images. And let's press S and let's go into wireframe. Let's select this one here now. I'm not going to use the old decommand. I'm going to use the chef decommand. And the reason being is I want the textures to look slightly different on each column. So if I use the ltd when we apply textures to the one, we'd apply textures to them all, but in an identical manner, and I don't want that. I want to be able to sort of change the textures on each one because they're such a feature, it won't look realistic if the wood grain and the patenation is the same on all of them. So in this case, let's press Shift and X and bring a copy over to here and put that just there like that. And let's do that again. Let's press Shift and X and bring a copy over to here. And one last time, let's press Shift D and X and bring a copy over to here. And there we go. That's cool. Let's go back to solid mode now and see what we've got. We can go ahead and turn off our reference images. And I think the next thing we can do is maybe just tidy up these corners. This one here is coming up short, so let's fix that. And then we'll need to sort of just reduce the height of this one. So let's do that. Let's select this one now, and let's tap into Edit mode with it and press three so we can select faces. And just select that face there. And now hold down Control and press Plus to expand on your selection until you get to there. And if you just tap one too many times by mistake, just hit the minus key above the plus key just to bring it back. When you've got that, let's press seven to see it from above. And let's go ahead and pull that to where we actually want it, which is about. About there, I think it is about right. That's looking good to me. Alright, so now that we've done that, what else do we need to do here? I think the next thing we need to do is bring this one here down so it's underneath this beam. So let's tap out of Edit mode with this beam. Let's like this one and tap back into Edit mode. And let's go ahead and maybe just select this face here. But there's faces that we can't get to underneath this beam. So we've got two options. We can either just press Z and go into wireframe and select those or we can come up here and click on Select. Come down to select similar and then collect select Cplaner. And now all the faces on the same level on the same plane, I have been selected. So everything that is coplanar, of the same level on the Y and the X axis have been selected. Once we've got that, let's go ahead and press control or hold down Control and press Plus to sort of increase our selection and select all those bevels and then go ahead and bring this down now and put that more like that. That's correct. No. Okay, so what else do we need to do? Let's go ahead and do those same things on the other side now. Let's fix that next. So let's maybe have a look at this beam here. Let's select this one. Let's tap into Edit mode, select that face. Hold down Control and press Plus to expand on the selection. Press seven to get the orthographic view from the top and go ahead and pull that one over to about there like that. Let's have a look at that. Let's zoom in, and let's just pull that in a little bit more to there. Okay, let's tap out of Edit mode with that now, and let's look at the next thing, which is just taking a second to re center, let's just grab this one, tap into Edit Mode, and select this face here. Come over to select and go ahead and select similar and select Cplaner. Hold down Control and hit the plus key to expand on the selection to there. And now let's go ahead and bring that down. To there like that. There we go. That's cool. Let's tap out of Edit mode with that now, and let's see how we're doing. So I think the next thing we need to do is go ahead and just put our beams in here, like we talked about. So let's do that next. So let's go ahead and just select this one, this one, this one, this one, and this one. Let's hit the forward slash key just to isolate those objects. Let's press one to get a nice orthographic view of this, maybe just select this beam here. And let's go ahead and press Shift D and Z and bring a copy up like this. And let's go ahead and rotate that now. Let's press R and go ahead and rotate that down and just line it up with the grid behind to make sure that it's reasonably vertical, and there we go. And now let's go ahead and bring this over now and put that in position. Something like that is about right. Okay, so now let's go ahead and tap into Edit mode with that. And let's press and go into wire frame. And let's press one so we can select vertices. Grab all the vertices of this sort of piece we've just rotated and now press S, and then Z. And that's zero that by pressing the zero key, and there we go. Let's go ahead and take that up now and put that in position. About there like that. Just about there should be about right. And now we got this one to fix. So I think, in this case, let's go ahead and Boley and this. So let's press A to select all. And I'm just going to reduce the width slightly on this, so I'll press S and Y. So it's ever so slightly narrower than this one here. Okay, now that we've done that, let's go ahead and press set, and let's go back into solid mode. And let's select this one here. And let's go ahead and add our modifier, generate and boolean. And let's go ahead and grab our little eyedropper and select this one like this. And there we go. That's cool. Let's go ahead and apply that boolean. That definitely worked. Grab this one now, and let's tap into Edit mode. And let's just select this top face and then hold in control and press Plus to expand on our selection to there like. Let's go ahead and press X, and let's go ahead and delete those faces. Okay, let's tap Edit mode with that one and see how that looks. And, yeah, that's looking good. So, what's next? Let's maybe select this one now. And let's get the cursor to the center of that once. Let's go ahead and press Shift S and then cursor to the selected. Let's grab this one now, and let's go ahead and set the origin of this one to the three D cursor. Let's select this one. Let's press Shift D, right click twice, and go ahead and mirror in the X axis. And there we go. Now we've brought those over, and they're looking really good. Alright, let's hit the forward slash to bring everything back. And let's go ahead and turn stuff on. Let's go ahead and hide everything and see how we're looking. Let's even bring back the cabinets. Let's maybe compress some of these folders so it makes more sense. And let's go ahead and turn on our cabinets and our cooker and our lamp, and let's see how it's all looking. I think there's one more thing I want to do, and it looks like this plenth here is another thing that's sort of occupying the same space. Yes, it is. So let's fix that. So let's just select it and let's look at the scale and it's out. So let's press Control A. And apply rotation and scale. And let's go ahead and add a Boole and modify it to this one. Let's grab our little dropper and put it on this column like this. And there we go. That's cut round nicely on that. So let's go ahead and apply that one. Alright, so that's made some big changes to our sort of beams and made them all look a lot more sort of realistic. And I'm liking the change in the scale of those columns, and I'm liking these vertical beams. They're making a lot of sense. Alright, so on the next lecture, let's go ahead and create some sockets that we'll put in well, wherever we think, really, but I'm going to put them quite a few on this back wall so that appliances can be used like mixers and kettles and coffee makers. So we'll put quite a few on this back wall here and maybe we'll put some inside our larder, as well. Okay, so let's do that in the next lecture. Let's go ahead and do a save. Let's press Controls. And this is a nice angle, isn't it? Just here? I like this. I think when we do our renders or our stills, when there's bifolding patio doors in here, I think I will do an actual render from this angle. I quite like this. Anyway, I'm going off track again. Sorry about that. Yeah, let's call this lecture today, and I'll see you in the next one. Thanks very much. Bye bye, Fine. 54. Lecture 53 The Power Sockets: Hello, and welcome now to Lecture 53. And in this lecture, I want to do the little power sockets that we'll put along the back wall here on both sides and then maybe just distribute them a few other places, too. So, yeah, let's have a go at doing this. So what I want to do is I'll just bring in an image that I can't, fortunately, share with you because of sort of copyright laws, but this is a kind of a basic UK socket. So I guess if you're wherever you're living, you can sort of do a little research and figure out maybe if there's a different kind of socket that you want to try and model. You've definitely got sort of the skills to do it now. But I'm going to go ahead and just show you how to model this one. So let's drag that out of the way, and let's see what we can do. So I think the first thing we can do is, let's go ahead and hide everything. So let's just turn everything off here like this. And let's just click on scene collection, and let's add an extra one. And let's call this the Power socket. There we go. What is that? A pot voir socket. Let's get rid of that extra P, and there we go. Alright, let's go ahead and bring the cursor down to the world origin. So let's press Shift S and cursor to world origin. And what should we start with? I think let's start off by bringing in a cube. So let's press Shift A and mesh, and let's bring in a cube. And let's look at the dimensions. And I think in the width, I want to make this about 15 centimeters. So in the X, let's click on this. And let's go for 0.15 enter, and there we go. And in the Z axis now, I want to make it about what about 9.5 centimeters. So in this one, let's delete what we've got. And let's go 0.09 Enter, and there we go. And I'm not so worried so much about the Y axis. Maybe we just scale it down the Y. So let's press S and Y and go ahead and scale this down now to. Let's zoom in a little bit on this and have a look. Again, S and Y and scale this down to maybe something like this. That should be fine. Alright, so let's just grab this item, and let's hit the decimal point to re center on it. And what do we want to do now? I think the first thing we can go ahead and do is put a bevel on this. So, in fact, before we even do that, that's a good point. First of all, let's apply the scale. Let's press Control A. I rotation and scale, and let's go ahead and put a mirror modifier on this. So let's tap into Edit mode with it and press two so we can select edges. Grab this edge here, let's press Controller and put a loop down the middle like this. Let's press three so we can select faces, grab these faces here, and let's press X, and let's go ahead and delete those faces. There we go. So the origins and the cursor exactly when we want them. So the next thing we can do is tap out of Edit mode, and let's go ahead and add a mirror modifier. And there we go. That's cool. Make sure that clipping is on so the two halves join nicely. And now we can go ahead and tap into Edit mode, and we can press two. We can select maybe this edge and then this edge, and this edge, this one, and this one. And we can go ahead and we can press Control B, and we can bevel these edges. Something like that. I'm going to roll the mouse wheel quite a few times to get nice sort of detail bevel on this. And I want something like that, I think. So I've got five segments, and there we go. That's cool. I think next thing I'm going to do is press three, select faces, grab this face here, and let's go ahead and delete that face, so it's sort of holo. And there we go. That's cool. Let's tap out of Edit mode with that one now. Okay, so now we've done that one. I want to bring in another cube. So let's press Shift A and mesh, and let's bring in another cube like this. Okay, let's press one to see this from the front. And let's press S and go ahead and scale this like this. And let's zoom in a little bit, and let's press S again and just go ahead and scale this one in a bit, maybe bring it over here like this now, and maybe just scale it down slightly in the X. So let's press S and X and just bring this down now to something like this, I would say. And then position it about there, I would say is about right. Okay, let's press three to see this from the side now. And let's go ahead and scale this down the Y. So let's press S and Y and bring this down to now something like that, but then also just bring it forward in the Y axis like this. There we go. That's cool. All right, so let me just bring in my image again for a moment so you can see it. So this cube we've just made is going to be this plastic component, this sort of upside down T. So let's see. This is what I'm trying to make next. Let's drag this back out of the way again now. And let's go ahead and fix the scale on this. Let's press Control A and apply rotation and scale. And let's go ahead and tap into Eda mode with it. Okay, first of all, we need to add some loops to this. So let's grab this edge here and let's press controller. And now let's bring a loop in about there like that, I would say. That's about right. It's like this top edge here now, and let's press controller. And let's go ahead and bring two loops in now and just put them like that and maybe scale them out a little bit in the X. Let's press S and X, and just bring them to about that. I would say that's about Okay, so once we've done that, let's press three, and let's select these faces here. And also this one and this one, there we go. And once you've got those, go ahead and press X and delete faces. Okay, let's press one so we can select to Cs, grab this one and this one, and let's press F and fill that. And now let's do the same on the other side. Let's grab this one and this one. And let's press F and fill that. Okay, let's press two so we can select edges, and then select this one, this one, this one, and then this one, and press F to fill. And now go ahead and grab this edge here and press F one more time, and there we go. Let's do the same again. Let's grab these and press F, grab this edge here, and press F one more time, and Alright, now we've done that. The next thing I want to do is go ahead and put the sort of holes in this that we need. So let's press two so we can grab edges, grab this one here, and press controller, and bring two loops in here and sort of bring these up to about there like that, I'd say. Now let's go ahead and sort of select this edge here. And let's press controller. Let's bring two loops in, and let's put those about there like that. Okay, we'll grab it just here like this, and we'll press controller, and we'll put two loops in as well. But let's scale these up in the X. Let's press S and X, and go ahead and scale these up a little bit to about there and maybe bring those closer now to the middle, about there, I'd say. Alright, let's maybe grab this one here now, and let's press Controller, let's scroll this twice. I want to press one linen pad to see this from the front, and let's go ahead and press S and X and scale this up, so it's about the same width as the other side. And now bring this over like this. And maybe this is a little too wide, so I'll press S and X and bring it down, and they bring it back to the center. Now, these here, I think I want to bring them down a bit. So I'm going to press Alt and select this one and then this one, and I'm just going to whoops shift and select this one and now bring these down to about there like that. Now let's select this top edge here, and let's press Controller, and let's scroll the mouse wheel to get two loops, and let's scale these up slightly in the XT about there like Alright, now what do we want to do? I think the next thing I want to do is maybe press three and maybe just grab these top edges here, and bring these down a little bit like this and just reduce the height of this. I think I had it a little too high, and maybe even a little bit more. Let's grab these and bring these down now to about there like that. And now let's select these edges again. Let's press Alt and select this one and maybe bring this one down now to about there like. Okay, let's press three and then select this face, this face, and then this face. And let's press E and go ahead and take those in and extrude those like that. There we go. That's cool. And I think I want to get rid of this edge here, so I'll press two, and I'll grab this edge and then this edge, and that should be enough there. Maybe this one and then this one or as well, maybe this one, this one, this one and this one. Let's grab those edges right click and go ahead and dissolve those. There we go. Okay, let's tap out of Edit mode with that. And now let's go ahead and isolate that object. And let's turn it around and tap back into Edit mode. And let's select everything on the back here. So let's select that. And now let's come over here to select. Come down to select similar and click on Cplaner. Once we have all of those, go ahead and press X, and let's go ahead and delete faces. And there we go. That's cool. Alright, what do we do next? I think maybe we want to take these a bit deeper, so I'll go ahead and grab those and take those in a little bit further like that. I'll press two now, so I can select edges. Maybe just grab these edges here, maybe these edges here, and right click and go ahead and dissolve those edges. That's looking pretty cool. Maybe as well. Let's grab this one and this one, this one and this one. Let's right click and go ahead and dissolve those edges. All right, so the next thing I want to do is maybe put some bevels on this. So I'm going to grab this edge, this edge, this edge, this edge, and this one, this one, and then this one, and then this one. And with those selected, let's press Control B and go ahead and bevel those edges. Maybe something like that is about right, I'd say. And segments, I think I'll go ahead and leave it where it is on about five. Okay, that's looking good. Is there anything else you want to do with this? Let's tap out of Edit mode, check the scale, and it's all good. So I think next thing we can do is go ahead and add a bevel to this. So let's add modifiers, generate, and bevel, and there we go. And I think I'm happy enough with the bevel we see on that, but I'll increase the segments to maybe a three. And there we go. That's cool. Let's go ahead and apply that bevel. And finally, let's go ahead and do a shade oro smooth on that, and there we go. That's cool. Okay, let's bring everything back, so I'll hit the forward slash, and I'll bring this back into position now on our face socket. Bring that in now to around about there for a moment like that. Okay, once we've done that, let's select this item, and let's add a modifier, generate and boolean. Let's grab our little eyedropper and then click on this thing we've just created, and there we go. That's worked. So I will go ahead and apply that. Okay, I'll take this back the rest of the way now, like this. So that's nicely imposition. Like that There we go. That's good. Okay, what do we want to do next? The next thing we want to do is maybe look at this little switch we've got here. Let's see if we can do something with that. So, how are we going to do that now? I think next thing we can do is go ahead and bring in a cube. So let's press Shift, A, and mesh, and let's bring in another cube. And let's press one to see this from the front. And let's press S and scale this down straight away. Let's press S again and scale it down some more, maybe bring this up, bring it over a little bit from the center. And now let's scale it down in the X. So let's press S and X, and bring this down to something like that, I'd say. Let's press three to see this from the side. And we can bring it forward on the Y axis. And now let's go ahead and scale it down in the Y. Let's press S and Y, bring that down now to something like that, I'd say. Alright, so that's a start. So now let's fix the scale on this. So let's press Control A, and apply rotation and scale. Okay, so now what do we want to do? I think, first of all, of course, let's tap into Edit mode. And let's go ahead and select this face here. So I'll press three, select this one here like this. And let's go ahead and press I to Inset and bring that in now to something like. Let's go ahead and take that back a little bit. So let's press E and Y and go ahead and extrude that into something like that. And now let's press I again and inset this a little bit. And now let's extrude that back out again. So I'll press E and Y and go ahead and pull that out now, too, something like that. Maybe that's a little bit too far. I'll pull it in a little bit more to something like that. And I'll press two now, and I'll select this edge here, and I'll go ahead and take that back Alright, so this edge here should be a little bit curved. So I'm going to select this edge, and I'm going to put a control loop in, so I'll press controller. And I'll put that just there like that, and I'll grab that edge there and then go ahead and pull that in now, like that. That's cool. Alright, I think to sort of finish this off, we're going to add a subdivision surface modifier to this. But let's add a few more control loops to this so that we can get a little bit of control over it. So let's maybe just select this edge here and press Control R, and let's put maybe three loops in like this. And now let's grab this edge here. Let's press Control R, and let's put maybe four loops in like this. Let's grab this edge here, and let's press Control R. And let's roll that and get two loops in the edge like that, and there we go. That's cool. Alright, so maybe as well, let's just grab it here. Let's press a controller, put one loop in there, and grab this one here, and press a controller and put one loop in there like. Okay, let's tap out of Edit mode with that and let's look at the scale, and it's all good. Let's add modifiers, generate, and let's add the subdivision surface modifier. And yeah, I mean, that's looking pretty good. Let's up our levels viewpoint to two, and let's tap into Edit mode and just see what we can do to improve this slightly. So I think maybe we're going to add another control loop here. So let's press Control R, and bring this up now to something like that. And let's do the same on the bottom. Let's grab this one. Breast controlR and then bring this down now to something like that. And maybe one here now. Let's press Controller. And let's click on this and bring this one over a little bit to about there. And let's do this one, too, Controller, and bring this one over a little bit like that. And there we go. That's a nice looking switch. I think I'm really pleased with that. So I'll tap out Vd mode with that, and I'll go ahead and apply that subdivision surface modifier. And now, straightaway, I'm going to go ahead and do a shade oro smooth on that, and there we go. That's cool. So let's go ahead and take that back into position now and put that about there like that. Okay, so let's press that let's press one to see that from the front and kind of figure out if this is looking good. And yeah, I think I'm happy with this. So let's select this item now, and let's add another modifier, generate and boolean. And let's grab our little dropper and let's just select our new little switch. And there we go, that's cool. So I'll go ahead and apply that, and that's our cutters in place. Alright, so what do we want to do now? I think the next thing we can do is go ahead and grab this and let's go ahead and apply our mirror modifier. And now let's grab this item here, right click and go ahead and set the origin to the three dcursor. Let's have a look at this, and we've just got a smooth on it. So let's go ahead and apply that in this case, because I'm going to join all these objects up, and I don't want I don't want any modifiers in it in this case, because then the other objects will inherit the modifiers. So in this case, I'm going to go ahead and apply that modifier. And I'll do the same with this one, too. I'll go ahead and apply that smooth. There we go. So let's grab this one now, and let's press Shift D. And let's right click twice and go ahead and mirror in the X axis, and there we go. Let's do the same with this one now. Let's right click, and let's go ahead and set the origin to the three D cursor. Let's grab it again and press Shift D. Right click twice, and go ahead and mirror in the X axis. And there we go. That's go. We're nearly done with this. Okay, the next thing I want to do, maybe, is just grab these items And grab this one last. And now let's go ahead and press Control, J, and join those into one item. And there we go. That's cool. That's our finished socket. Okay, this is looking good, but I think the normals on this one are out. So let's tap into Edit mode. And I think I'm just going to press A for all. I'm going to press Alt N, and I'm going to go ahead with recalculate outside, and there we go. Let's have a look at that. And there we go. Let's fix the normals on this socket. Alright, so I think now, let's go ahead and just bring this forward slightly on the Y axis. And let's bring it up some on the Z to sort of centralize it in our room. And then let's go over to our outliner, and let's go ahead and bring everything back. Okay, I think for a moment, let's press set, and let's go into wireframe. And let's press one to see this from the front. And let's go ahead and take this over now and position this roughly where we want it. And I think I want this about there on the wall. Okay, let's press three to see this from the side. And let's go ahead and bring this back now. And put this on the wall in position. That should be, I think, is that about right? About there like that, I think, maybe a little bit more further back. There we go. Let's just check that. Let's press S and go back to solid before we make lots of duplicates of this item, blenders slowing down, so I'll hit the decimal point and re center on this, let's have a look to make sure that's back to the wall, and we can take back a tiny bit more, and there we go. I want it something like that. Okay, let's press one and see this from the front again. And let's go ahead and press Z, and let's go back into Wireframe. And maybe just bring this to about here like this. And now I'll go ahead and press Alt D and X and grab a copy. And I'm going to put two together, I think, like this. Then I'll grab both of them again and I'll press Alt D and X, and I'll bring another two over now to about here like this. Now I'll grab them all together again, and I'll go ahead and press Alt D and X and bring those over now to the opposite side like this. And put those in position as well. And maybe we just need to refine these ones. I'm just going to grab maybe just this one and this one and go ahead and move those over a little bit more to about like. Okay, let's press it. Let's go back into solid mode. And let's see what that looks like. There's our sockets in place, which is a nice, another little detail just to add to our scene. So if you want to put those sockets anywhere else in the scene, maybe you want to put some low level ones along this wall, or you want to put some in the larder. I'll kind of leave that to you where you want to distribute those sockets. Okay, this has been quite a long lecture, I must admit, but I sort of figured we could sort of condense this into one lecture. I hope you don't mind. So in the next lecture, let's have a go at doing our curtains over our bifolding door. That's quite a cool thing to do. Okay, so let's go ahead and do a Save. Let's Express Control S and save our progress. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 55. Lecture 54 The Curtains: Hello, and welcome now to lecture. What are we on Lecture 54. And in this lecture, let's go ahead and make our curtains. And this is going to be quite impressive what we do now because up until now, everything we've sort of modeled is what you call hard surface modeling. So there's stone, there's wood, there's brick, there's marble. It's all hard surface modeling. But in this lecture, we're going to do fabric. We're going to create curtains. And Blender, you're going to be really impressed with Blender and what it can do in this lecture. So let's crack on and let's do this. So what do we do first? First thing, let's start pretty basic. Let's press one in the keyboard to get the orthographic view. And let's go ahead and press Shift A, and let's go ahead and bring in a plane. Let's rotate that in the X axis. So let's press RX 90, Enter. And let's go ahead and bring this up now until it's kind of that much above our huge door opening. So that will represent the top line of our curtains. Let's bring this over now until it's sort of flush with the edge of our door opening like this. And let's go ahead and press, and let's go into wireframe. Let's tap into Ed mode and press one for vertice selection. And let's go ahead and grab these bottom vertices now and kind of bring these two about there like that. That's cool. Okay, let's grab these vertices now. And to be fair, they're not far off. I want this plane to fill about a little more than one third of the opening. So, something like that would be about right to me. Alright, once you've done that, let's go ahead and press set and let's go back to solid mode. Okay, let's tap out of Edit mode, and let's go ahead and bring this plane over to the opening now. So let's grab this and move it over in the Y axis and drop this in the position where we actually want it. So something like let's see. I'm just going to let that sort of hit the wall and go through, gives it a good sort of indicator where we are, and then pull it back a little bit until it looks something like that. Let's have a look at it this way, maybe pull it over a little bit more, and that's about right to me. Okay, so let's press one on the numpad to get us the orthographic view. And let's hit the forward slash and isolate that plane. Okay, so let's look at this and the rotations out. So let's fix that first. Let's press Control and apply rotation and scale. And let's go ahead and tap into Edit mode with it. Let's press two so we can get edges. And let's go ahead and select this edge here, press controller, and let's put some loops in. And let's put maybe three cuts in like this. Okay, let's grab this edge here now, and let's press Control, and let's scroll this way too until we've got sort of three in this way, as well. Let's press three on the keypad, so we can select faces, press A, so we'll selected. Right click, and let's go ahead and subdivide. Now, I'm going to press Shift R once to double up on that subdivision, and then I'm going to press Shift R again, and I'm going to press it one more time. So I've pressed it three times so that we've got that many sort of faces on our plane now. And that's cool. That's what we want. Okay, so that's a good start. So the next thing I want to do is go ahead and press one so we can select vertices. And I want to grab maybe the first two rows of vertices like this. And with those selected, I'm going to come down to object data properties, and I need to create a group for those vertices. So we can do that. We would those selected, hit the plus sign like this, and let's double click on it. Let's call this curtains. Well, let's just call it the curtains. And click Enter, and then must go ahead and assign that like that. Okay, so now what we want to do? The next thing I want to do is go down to the shape keys to do that, I've got a tap out of Edit mode and come down to the shape keys here and hit this twice to get two groups. And make sure that key one group is assigned here. Once we've done that, tap back into Edit mode with our plane, and now I need to get the cursor just here. So I think, in this case, I'm going to actually just hit the cursor control here on the tab and just click left click just there to bring it in like that. I'll go ahead and click on the move tool again to get that assigned. And now I'll come here to object orientations, and I'll make sure that the three Dcursor is assigned to the Gizmo. So now the Gizmo moves right there to the three D cursor. And with that done, now I'm going to go ahead and press S and X and go ahead and scale down in the X axis only vertices, those top two rows of vertices to something like that, which is probably about one third of the width of our curtains. And that compressed or scaled down set of vertices represents how much our curtains are going to be compressed in their sort of open position. I hope that kind of makes sense. I've done that, I'll go ahead and tap out of Edit mode. And now we'll come down to the value here on our shape keys, and I'll go ahead and slide that over, and now you can see we've got control over our top two set of vertices. And that's what I want. That's cool. All right. So the next thing I want to do is introduce you to the timeline. So we will be using the timeline quite a bit when we get to the animation stage of our course, and let's go ahead and bring that in now. So bring the cursor down to the left hand corner here. And when you get close to the corner, a cross will appear. Hold down the left mouse button and drag up to create another panel here now on the bottom. Once you've done that, come here to this tab, click on this and go ahead and click on timeline. And now we've got the timeline in our scene. So these top run of numbers here represent frames. And if I hit play, this is the counter here running through those timelines, those frames, and it basically runs through around 24 frames every second. So if we assign a key point to position on our timeline and another key point, an object will move through its distance while that timeline kind of slides across. I don't know if I'm making myself clear. I'm not sure, but kind of you'll see it as we go here, and hopefully it'll make a bit more sense. So the first thing I'm going to do with the curtains in the open position as you see here, is come on down to the value here and just go click on this and we get our first set of keypoints in the scene. So this is assigned the curtains in this position to frame one. So I'm going to go ahead and slide our counter over now to frame about 190 we've got all these frames which are too much here, so I'm going to reduce the amount of frames because anything to the right of our counter won't be included. So I'll just go ahead and slide this over now to something like that, about 196. Now I'm going to move the value here now over like this, and then I'm going to go ahead and assign this just like that. So now we've got a second coupon of key points in just like that. Now, if we hit this one here now, the time frame will drop right back to the first one. And if I hit play, you can see now what our timeline is doing is go ahead and moving across while the counter goes. So it's moving through its full range 0-190 frames. And that's cool. That's what we want. All right, cool. Let's stop this. And let's take that back to the beginning. And now we need to assign a material to this plane so it'll no longer just be a plane. So we're going to go to the physics tab, which is just here and click on this. And we're going to go ahead and hit cloth like this. So now cloth has been assigned to our plane. We're going to come on down here now like this. And we're going to click on shape. Because if we don't is a good point, actually. I won't do this for a sec. Because now we're working on the physics tab, and we've assigned a material to this, that means that the laws of physics have been applied to Blender. So if I hit play right now, our material will just fall because there's gravity in play now, and a gravity is acting on our object. So I'll go ahead and hit take that back to the beginning like this. And with this still selected, I'll come down to shape now, and I'll go ahead and click on this and we want our curtains to be assigned. There we go. So that means that our top two row of vertices, which we assign to the group called curtains are now pinned to that position. They cannot move. So now, if we go ahead and hit play, now Blender is treating that as a fabric. How cool is that? Isn't that brilliant? So I'll kind of roll around this for a second so we can see what it's doing, and how cool is that? Okay, so let's just go ahead and pause that for a moment, and let's refine this. So the first and most basic thing we can do is go ahead and do a shade oro smooth. And let's take this right over pretty darn high now to over 100. About 116 seems to work. And already, to be honest, that's actually looking pretty good. I'm quite liking that. But I want to show you more cause to be honest, I'm right with that. I'm not bad with that at all. But we can see something up here now. We can see this weird effect up here. And this is basically surfaces interacting with each other and actually just meshing. So the material up here isn't acting normal. It's kind of crossing over each other and sort of blending into each other. And, of course, fabric wouldn't do that. It's going to sort of oh, it respects the laws of physics. It can't sort of I can't mingle. It It only folds. It can't blend its molecules. So let's do something with that. So if we come on down here now to collisions and click on this and here in the self collisions, go ahead and turn that on. But let's bring the distances down pretty low now to something like this. Let's take that back to the beginning now and let it play again. And get ready to pause this where you like it, which is something like that. Maybe we need to go to the modifiers tab and increase our smoothing and just take that up to the max like that. There we go. That's work now. So between the collision molecules and the smoothing, we seem to have something. So, how are we looking? We're looking pretty good. I quite like this pattern here at the bottom. We could see if we could do more. We could go back to the physics tab here now. Let's increase the quality of steps so that increases the quality of this material. And let's add some weight to this material because curtains are quite heavy. So let's make this around 1.5 kilos. Maybe down a little bit, maybe about 1.3. Now, this is going to make this material bounce a little and stretch a little. So let's see if we like that. Let's hit back to the start key, and let's hit play, and you can see the material kind of stretching and bouncing a little, but that's normal. And let's see what that does. And there we go. That's looking quite good. I like the irregularity on the bottom. This is looking good. We can play around, as well. I'm kind of play around with these settings just to kind of show you a little bit, so we could adjust the bending on this to maybe a one at 1.2. Let's try that again and see what that does. And I get a feeling I'll take these back to where the settings were because I really quite like the curtains already. But I think I just need to show you these settings. And let's see. I mean, that's quite nice like that, actually. The way it sort of splays at the bottom there. That's quite cool. And I don't want it to rest too much because it becomes too uniform, so I probably will kind of take it somewhere around there, I think. I quite like that there's some irregularity to the bottom of our curtains, though. Alright, is there anything else I want to do? Maybe I think I'm going to leave it like I'll show you this. This is the speed multiplier. So if we go ahead and adjust this, this will kind of change the speed in which Blender will affect the fabric modifier within our timeline. So it'll do less within that timeline. And there we go. We get a slightly different effect because of the speed multiplier. So I'll take the back up to one, and I'll leave the quality steps 12. I can take this up, but again, I'm trying to make sure that I'm not overstretching everyone's computers that everyone's computers can kind of handle this. So let's take that back to the beginning again and press play and see if we get a nicer result now. And stop this where I want. That's quite nice like that. I quite like that effect. I like that the folds aren't too regular and we've got some different stuff going on within those curtains. I'll just hit play a bit more and maybe let it come back around again and just get ready to hit that pause button, maybe take that back a little bit and just see where I like it. That's quite cool. Just that maybe that's not enough. And do I want to adjust the bending back a little bit? Let's try taking that back. Take that back to the beginning and just try one last time, and hopefully we've got it. In this case, I don't mind experimenting a little bit, just to kind of show you that things like cloth modifier, there's no set number to work with. There is you do need to sort of adjust the settings and see what results you get. So that's what I'm trying to show you here now. It's not just sort of just set numbers, and there you go. That's done. It's just show that at this stage, we need to sort of just play around a little bit and just get the result we want, because that's quite cool there like that, the way that kind of splays there and splays there. But I want the curtain to be more compressed, so I think I'll hit Play. And that's quite cool, actually, just like that. I think I'm going to go ahead and accept that. So now we need to convert this to a mesh because at the moment, it's not. So to do that, come on back to the object data properties and go ahead and delete our two shape keys, and there we go. That's done. That's deleted the shape keys in our timeline here. So now if we go ahead and press Control A, and we're going to go ahead and click on visual geometry to mesh to turn visual geometry into a traditional mesh, and there we go. Okay, so let's go ahead and get rid of our timeline. Now, we're kind of done with that, so I'll click on View and area, and I'll go ahead and close that, and there we go. So what do we want to do next? Let's go over to the modifiers tab with this selected. And we could have a go at putting a Subdivision Surface Modifier on this. Obviously, that's going to increase the density of the mesh. So this is completely up to you because we've already got if I hit the tab key on this, we have acquire a lot of mesh in this, so it's up to you, but I think I'm going to go ahead and do it. So I'm going to add modifier and generate, and Whoops, Subdivision Surface Modifier, and I'll click on that. And yeah, there's a slight improvement in our curtains. I think that's looking slightly better. So I'll go ahead and apply that. And let's have a look at the density of the mesh now. And yeah, that has increased the density a little bit. It's not too bad, to be honest for a cloth material because when you create cloth materials, you do have to have quite dense mesh. There's no kind of other way around. So I want to do one more thing now, and I want to add some thickness to our curtains. So let's use the solidify modifier for that. So let's add modifiers, generate and the solidify modifier. That's looking a little too thick, so I think I'll just add 10 to the right of the decimal point and click Enter. And let's go ahead and turn that one into maybe a four and see how that looks. And there we go. I'd say that's about right. I'll turn on even thickness, and then I'll go ahead and apply that. Okay, so let's look our curtains, and they're looking really good. So let's go ahead and bring everything back. So let's hit the forward slash, and let's have a look at the curtains in the room. And they're looking really good. I think I'm going to go ahead and move them over slightly in the X axis and move them back slightly on the Y into the room, and there we go, How cool is that? So I think let's go ahead and make a duplicate now for the opposite site. I'll grab this one, and let's press Alt D and X, and bring a copy now over to the other side like this and just go ahead and put those in position. Slide those right up to the wall now, like that. And I can just see the wall breaking through. So I think I'll just pull them forward slightly on the Y, and there we go. That's cool. There's our curtains in position. How cool is that? Alright, so in the next lecture, let's just finish off the inside of our kitchen. So I need a trim over the top of the curtains here just to sort of hide this area. And I want, another trim board going on the wall here to the floor. In the UK, we call that a skirting board, but I think in different countries, there's different names for it. But we'll go ahead and put in sort of a little trim board to the floor there on this wall. And then I think that's about it. That's the end of the interior modeling. Okay, so I'll go ahead and see you in the next lecture. Thanks very much. And I'll see you in the next one. Bye bye for now. 56. Lecture 55 Extra Trims: Hello, and welcome now to Lecture 55. And in this lecture, we're just going to do a few basic sort of covers. We're going to do a little trim cover to hide the top edge of our curtains here. And we're going to do a little board on the floor here, another little trim just between the wall and the floor. So let's go ahead and do those. These should be quite an easy thing to do. But I was looking at the curtains between lectures now, and I'm wondering, maybe I might just scale this down in the X, so I'll press SX and go ahead and just scale this down a little bit to something like this and then go ahead and reposition that one more time like that. And, yeah, I think that's fine. And I'll do the same with this one just to reduce the width a little bit. I'll press S and X and just go ahead and scale that down to maybe something like that, or maybe even a bit more SX something like that, I think. Okay, we could even if you wanted to. Of course, we're going to increase thickness doing that, but we can try pressing S Y and just try increasing the width of them and the Y axis. I'll just take a look at the edge and see what that's done, and that's fine. That doesn't look weird. So, yeah, I think I'll leave that at that note. Maybe just pull it forward slightly in the Y, and there we go. I'll stop messing around with those now. Okay, so now I want to do this, like, kind of cover along the top of the curtains here. So let's do this. And I'll just select maybe this beam here and I'll press shifts and bring the cursor to the selected. And let's go ahead and press Shift A, and maybe let's bring in a plane, I think. Let's rotate that in the X axis. Let's press x90, Enter. And I think I'm just going to press one on the numpad now to see this from the front, and I'll press to go into wireframe and I'll tap into Edit mode with. Okay, make sure you're on a vertices selection, grab these vertices here and go ahead and bring these down now to maybe something like that. Grab these ones blown out and just bring those to I think I want them about there, I would say, something like that. Grab these ends one here, and I'll pull these over. And I'll take that beyond the cabinet, sort of to something like like that, I'd say. And I'll grab these ones now and then just pull these over and just tuck those nicely up against the wall, which is about there like that. Okay, let's press seven now to see this from above. And let's just make sure that that's hiding the top edge of the curtain. So I'll pull it forward a little bit more to about that. Alright, so now what do we want to do? Let's press Z, and let's go back to solid mode, and let's have a look at that. And I think I just want to pull that down a little bit more, so I'll press two, select that edge there, press G, and then Z and go ahead and pull that down just a little bit more to about that, I'd say. Okay, so next, let's go ahead and make some thickness for this. Let's press three, select that face there. And now let's go ahead and press E and Y and go ahead and pull that forward and create some thickness in that. Maybe a little bit more. I'll press G, and then Y and go ahead and pull that to about that. No, I think that's fine. Alright, so what else do we want to do with this? I think I want this face here to be up to the beam, so I'll go ahead and grab that face there. And now, just go ahead and just pull that up to the beam. So I'll just find where the gizmo is so I can see what I'm doing. And just pull that now up to the wooden beam. Maybe take it in so you can get a sense of the thick to where it is, and then just put that about there like that. Okay, that's cool. Let's check the rotation and scale on this. Let's go ahead and tap out of Edit mode and the rotations out. Let's press Control A and apply the rotation and scale. Let's go ahead now and add the bevel modifier. Let's go and add two zeros to the right of the decimal point. Let's turn that one into something like a three. And let's turn the segments up to maybe three, and there we go. Let's go ahead and apply that. Let's do a shade or smooth on that, and there we go. No, that's fine. Okay, so problem I have now is this kind of like this cornice, this length here, is sort of passing through this cover we've just created, and I never like that, so I'm just going to go ahead and do something with that. So I'll just select the item, and now I'll press Z to go into wireframe and I'll tap into Edit mode with it, and I'll select the end of it like this. And then I'll press seven to see this from above. And I'll just go ahead and pull this forward now until it's just in front of this cover that we've just created, which is about like that. That's cool. Alright, let's go ahead and go back into solid mode now, tap out of Edi mode and see how that looks. And yeah, I think that's fine. That's kind of doing the job that I want. It's covering the curtains up there at the top, and that's exactly what I wanted. Okay, so now we just have this other one to do here. So let's go ahead and tap into Edit mode with the walls, and let's press two so we can select edges, grab that edge there and go ahead and press Shifts, and let's bring the cursor at that point. Okay, I'll tap out of edit mode with the walls. I don't need those anymore. And let's go ahead now and bring in a cube. So let's press Shift A and mesh and cube. Let's have a look at this here. So I think in the Z axis, let's go ahead and make this zero. Whoops. 0.15 enter. Let's pull that up a little bit in the z axis now till it's sitting pretty much on the floor. Yeah, yeah, something like that. And now, in the X axis, let's go ahead and make this 0.02 and enter. So that makes it 2 centimeters by 15 centimeters. And that's kind of a typical size of one of these kind of floor trems. There we go, something like that. Alright, so I think next, let's go ahead and hide the curtains. Select it. I'll press H to hide that. And let's go ahead and tap into Edit mode with this again. And let's press three so we can select faces. We'll grab this face here now, and let's go ahead and pull this over in the Y axis until it's nicely into this corner. I mean, the curtains do conceal here, so it's not the end of the world if we're not exact, but something like that. And let's do the same on this other side now. Let's grab this and let's go ahead and pull this up to our wooden column and put that something like that, I'd say. Here I'll tap our do mode with that, maybe I'll just go ahead and pull this column over slightly. So I'll press G and X and go ahead and move that slightly more towards the wall, something like that. There we go. Alright, so what else do we want to do? I think I want to put a bevel on the top edge of this. So let's fix the scale first. Let's press Control A, and apply rotation and scale. Then let's tap into Edo mode and press two and select this edge. Press Control B, and let's go ahead and bevel that edge. Let's scroll the mouse wheel a couple of times to get around on that edge, and there we go. That's about what I want. Okay, so I'll tap out of Edom mode with that, and I'll right click and I'll shade Auto smooth. And there we go. So we've got a trim in place there. I'll press ultage to bring everything back. And I think, just so we can see, I'll go ahead and bring back our bifolding door. And there we go. So that's everything in place now. I think with that done, that's all the modeling finished for the inside of our kitchen. Well done, everybody. That's a big milestone, Dan. So we got a little bit more modelling to do outside we might see outside of this window. In fact, there's a very good chance that we will, so we need to create a bit of a scene, a little bit of a decking or a patio just outside this bifolding door. So we'll go ahead and do that in the next lecture. Alright, thanks very much. Actually, let's do a save. Let's remember that. Let's press Controls and let's save our progress. And I'll see in the next lecture. Thanks very much. Bye bye, Fino. 57. Lecture 56 The Out Side: Hello, and welcome now to Lecture 56. And on this lecture, I just want to create a basically like a paved area just outside this window with maybe a small wall going around just to frame it. And then I want a large wall this side to kind of suggest when you're inside the kitchen looking out. Then there is more than just a kitchen. There is more to the house than just the kitchen. So by having sort of a wall coming alongside here, it'll sort of suggest that that is the rest of the house. So let's go ahead and do that. So where do we start? Let's go ahead and let's compress our folders and our outliner. And let's click on scene collection and add a new folder. Let's double click on it. Let's delete that. And let's go ahead and call this. Let's just call it outside. Whoops, my caps are on turn that off. And there we go. Alright, once you've done that, leave it selected. And let's press seven to see this from above. And let's bring in the first cube. Let's press Shift A and mesh and cube. I think we'll go straight into wire frame with this, let's go ahead and pull this forward like this now and put that about there. Let's scale that down the X. Let's press S&X and scale this down now to something like maybe even a bit more than that, S and X. To that, I would say. I'll go ahead and pull it forward slightly in the Y, and I'll go ahead and leave that like that. Let's press one to see this from the front now, and I think I'll just go ahead and tap into Edit mode with it. Press one so I can select vertices, grab these ones here, and maybe just put those there. Let's consider the height now for a moment. I'll press. Let's go back to solid and consider the height of this wall. Press three, grab it this here and it's a little bit too high. I'll go ahead and bring that down to about like that. That's cool. That's a start. Let's tap out of Edit mode with that one now. Let's press seven and let's go ahead and press Shift A, and let's go ahead and bring in another cube. I think I'm going to go ahead and work this by the numbers this time. So I think in the X and Y, I'm going to make this 65 centimeters. So if I just hold down the left mouse button in the top one and drag down to the other one, I can do both at the same time. I'll hit the backspace to delete that, and I'll press 0.65 enter, and there we go. So that's the kind of size that I'm after. And in the Z, I'll go and make this 0.05 enter. And now we've got a typical sort of concrete paving slab size. Okay, so let's fix the scale on that, so let's press Control A and apply rotation as scale. And let's tap into Edit mode with it. And let's press three so we can select faces, grab that face and press Control B and go ahead and bevel that edge a little bit too, not much, really, something like that. And maybe roll the mouse wheel to get two edges. So I have two segments and kind of a bevel like that. Alright, that's cool. Let's tap out of Edit mode, and let's go ahead and do a shade oro smooth on that. Let's press seven. And let's go back into wire frame, and let's just grab this one here now and bring this back to the house like this and put this in position now in the corner like this. And now let's have a look at that and make sure it is where it's supposed to be. Maybe let's press and go back to solid mode now, and maybe just bring this back in the Y axis until it's up to our sort of bifolding window, and that's fine. It's kind of cutting into that corner there, but I'm not going to worry about it because it's kind of a place that you'll never in 1 million years. Okay, so now that we've done that, let's go ahead and use the array modifier again. So let's make sure that this is selected, and let's go ahead and add modifier and generate and array. And it's arraying in the X axis, so that's actually exactly what we want. So let's have a look at that. And there's no gap between these, and I want a tiny little gap. So I'm just going to go ahead and maybe just add an extra zero and then a five and click Enter and see what we get. And that's close but no cigar, Let's just maybe reduce that five, two or three and see how that looks. And yeah, that's kind of what I want. So once we've got that we've set our gap in between them, let's just zoom out a little bit, and let's hit the count and increase on those until we get to the other side now like that, and there we go. Once you've done that, go ahead and apply that array modifier, and then straightaway, go back to add modifier, generate another array modifier. Okay, I don't want anything in the X this time, so I'll go ahead and press zero. And now in the Y, let's go ahead and put one in there. There we go. It's actually in the minus. So I'll just go ahead and just tap in front here and put a minus and click enter, and there we go. Let's just zoom in on this and have a look. Probably we just need to increase the gap between them again, and we do. So let's go ahead and just add an extra zero and then put a three and then enter, and there we go. That's cool. So kind of all that remains to do with that now is just increase the count. So let's go ahead and do that and figure how big we want our pavers. And I think that's kind of the area that I want for my sort of sundck area. That's cool. Let's go ahead and apply that, and we're done with that. The array modifier really does make things super quick. Very quick. Okay, so let's tap into Edit mode with this, and let's select the end here and let's press seven. And let's go ahead and pull this forward now two, something like that. Let's press two, select an edge here, press controller. And let's go ahead and bring this control loop now forward now to something like that. All right. Let's press three so we can select faces. And let's go ahead and maybe just grab this face here, press seven again, and let's go ahead and press E. And just extrude that out now to what maybe there maybe there like that. That's cool. Okay, once you've done that, let's go ahead and press Shift D and X and bring a copy of that face over now to about there like that. I would say that's good. Or should we take it back to there? Maybe I'll just take that back to there. That should be fine. And once you've done that, press seven. And let's go ahead and press E and go ahead and extrude that out now to the opposite side like that. Alright, that's cool. So now that we've done that, we can maybe just add a bevel modifier to this. So let's tap out of Edit mode for a moment, and let's fix the scale. So let's press Control A and apply rotation and scale. And let's go ahead and add our bevel modifier. Okay, obviously, that's too much, so let's go ahead and put two zeros to the right of the decimal point, click Enter. And let's go ahead and turn the one into maybe a six and see how that looks and increase our segment count to maybe a three. And there we go. I think that's fine. And I think I'm going to go ahead and apply that. Alright, cool. So I think the next thing I want to do is I want to put a capping on this wall, so let's go ahead and do that next. So maybe let's just tap back into Edit mode with this. Press three like faces, grab that face there and press shifts and cursor to the selected. Alright, let's tap out of Edit mode with that one now. Okay, so now that we've done that, let's go ahead and press seven, to see this from above. Let's press Shift A, and let's go ahead and bring in a cube. Let's scale that cube down. First of all, on the X, so let's press S&X bring that down. So it's a bit wider than our wall, something like that. Let's press one now to see this from the front. Let's tap into Edit mode with it, and let's press Ed for wireframe. And let's press three for face selection. Grab the bottom here now and pull that up until it's just sitting on top of the wall like this. Let's grab the top ones now and pull those down until you got kind of that thickness like that. Okay, let's press three now so we can see this from the side and see how that looks. And yeah, I'm happy with that now. Okay, let's press and let's go back into solid. And let's tap out of Edit mode for a moment and fix that. So let's press Control A and apply rotation. Okay, let's tap back into Edit mode now, and let's press two so we can select edges. Grab that edge there, press Control and go ahead and put a loop in the middle like that. Grab that top one there, and then just pull that up to create a ridge to this capping tile, and there we go. That's cool. So I think the next thing I'll do is tap out of Edit mode, and let's go ahead and apply our bevel modifier to this. Let's add two zeros to the right of the decimal point. And let's turn the one into maybe a six. Ah, click Enter. And let's see what we get. Let's increase our segment count to three. And, yeah, I will leave that actually. I won't apply that bell and modify just now. I'll leave it just like that. Okay, let's press seven, so we see this from above again now, let's press set, and let's go into wireframe. And let's go ahead and pull this back now to about there like that. Okay, so let's tap back into Edit mode with that. And let's press one so we can select vertices. Grab the end there now and pull that over to maybe about there like that, I'm going to guess. Let's tap out of Edit mode with that, and let's go ahead and press Shift D and Y and pull another copy forward like this and just put that in position where we want it. And let's go ahead and grab another copy now, so I'll press Shift D and Y, and just pull another one forward now to about there like that. I'll go ahead and tap into Edit mode with that one, and I'll grab the vertices and just pull that back just a little bit to about there like that. That's cool. Let's go ahead and grab a copy of this now, then. And let's go ahead and press Shift D and X, bring a copy over like this and go ahead and rotate that. So let's press r90, Enter. Let's go ahead and pull that back now till it's level with the other one like that. And also flush with it on this side, too. Okay, so let's make another copy of this. Or, in fact, let's just make this one a little bit longer. Let's tap into Edit mode, grab the ends here and just pull those forward a bit to about there. We're kind of cheating a bit, but that's okay. Okay, let's tap out of Edit mode, and let's go ahead and press Chef D, and X, and pull a copy forward to here now. And let's tap back into Edit mode, grab the ends here and go ahead and pull those back now to about there like that. There we go. That's cool. Okay, let's tap out of Ed mode, and let's press, and let's go back to solid mode. Let's see what we need to do next. So we need to bring another copy over here now. So let's press Shift D and X and bring a copy over now to the other side like this. And let's go ahead and press Shift D again and X and bring another copy over now to here like this. Let's tap into Edit mode with this one. And let's press three, select these faces, and then go ahead and pull that back now to something like that, like that. There we go. Alright, so now we just have this corner here to sort out. So let's go ahead and press Shift A and mesh. And let's bring in a plane. Let's rotate that in the X axis. So let's press RX 90, Enter. And let's press seven to see this from above. Let's press s and let's go into Wireframe. Let's rotate this now until it gets to that cross point there. We'll take that over to there like that. And now go ahead and press R and rotate and hold down Control and snap to the 45 degrees, which is just there now like that. All right, let's go back to solid mode. And let's click on this one. And let's go ahead and add a Boolean modifier. Let's grab the little dropper and go ahead and click on this and see what we get. And that's actually the normals is the wrong way round for that. But before I fix that, I think I'm just going to select this one now. Add the modifier, generate and Boolean. Grab our little dropper and just hit this little click on this little plane here, and then I'll go ahead and apply that one. Alright. And since I'm there as well, I'm going to go ahead and apply the bevel on that, and there we go. Okay, let's select this one again now. Or, in fact, let's select this one first. Let's tap into Edit mode, and let's press Alt N, and let's flip the normals on that. There we go. Now let's tap out of Edit mode, grab this one, and let's go ahead and apply our Boolean modifier. And now let's go ahead and apply our bevel, and there we go. We can also go ahead and delete this plane now like this. Okay, so let's go around now just applying the rest of our bevel modifiers. So we've got that one to do, and then this one, as well. This one, let's apply this bevel modifier. And then this one as well. Let's apply this one. There we go. That's cool. So, what do we want to do next? I think, looking at this, I'm just going to go ahead and turn the angle down now on a shade auto smooth because it looks a little rounded. So I'll just bring that down until that kind of corrects, and I think I'll leave that there like that. Okay, so now the last thing I want to do is just go ahead and create a wall on this side now. So let's press seven so we can see this from above. And let's go ahead and press Chef A and mesh and cube. Okay, let's bring this over here like this now. And let's press S and X and scale this down to something like that, and put that there now like that. Okay, let's press seven, and let's go into wireframe and let's tap into Edit mode. We'll grab the end here and we'll bring this over, and we'll just bring that to the wall like that. And we'll grab this end now and we'll bring this forward to maybe about here like this. Let's press one so we can see this from the front now, and let's just grab these top face now and then bring this up to about here like this. Alright, let's go back to solid mode and tap out of eddy mode. And do I want to apply a bevel to this? Is it necessary? I don't think it is. I don't think I need to apply a bevel to that. This wall is just gonna hinge really of something of something beyond the kitchen. So I think that's absolutely fine, in this case. Okay, so now that we've done that, we're kind of that is the modelling finished. So in the next lecture, let's start looking at textures. Alright, thanks very much. And I'll see you in the next one. Bye bye. Oh, before I go, let's do a save. Let's press Control s and do a save. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 58. Lecture 57 U: Hello, and welcome now to Lecture 57. And the first thing that's probably you're gonna notice is, where's the project gone? Where's our amazing kitchen gone? It's vanished. And baby, you're wondering, have I accidentally gone back to Lecture one? You haven't. There is a reason for why you're looking at a blank Blender screen right now. And the reason is, I want to take I want to spend a lecture talking about the basic principles of UV mapping. And then after this lecture, I'm going to do another lecture. We'll talk about the basic principles of texturing. Now, we're not going to spend long on this because all I really want you to understand is the fundamentals of it, the basics of it. So understand what it's for and what it does. I am a really big believer in project based learning. I don't think it's great to sort of spend lecture after lecture just talking about the principles of something or applying it to something that has no relevance. So I think the project learning is the way to go. Having said that, we are going to just touch now on UV mapping with just a cube. So let's go ahead and do it. And you probably notice that there's a resource attached to this lecture, and if you open it and save it, you'll see it's basically a cereal box. And you're wondering why on earth has he got a cereal box attached to a lecture. There is a reason for it. Don't worry. And you'll see it now. So let's click anywhere. Let's get rid of our splash screen. And let's start by bringing in a cube. So let's press Shifte and mesh and cube. Okay, nothing hard about that. We know how to do that. Let's press one on the numpad, to see it from the front, and let's just bring it up so it sits on the X axis like this. Okay. When I say this now, the penny will drop. Let's kind of scale this down and the Y and the X until we get the shape similar to a box of cereal. So let's press S and Y and go ahead and scale this down like this. And now let's scale it down the X, S and X, and scale it down like this. And there we have now a basic cereal box. Let's fix the scale. Let's press Control A, select the item, Control A, and apply rotation and scale. There we go. So the next thing I want to do is actually go into the shading mode here. So these up here are all modes, and they're sort of set up and tuned to suit whatever you're doing. So if you click on to the UV editing one, then it's all set up ready for UV editing. If you go into sculpting, then it's all set up for sculpting, shading, it's all set up for shading. Now we're going to stay in shading. This is the one I want to use, and you might be wondering, why not use the UV editing one here? The reason being because I also want to have the shader editor on the bottom of the screen here. So for that reason, we'll go into this one. Here we have UV map, here we have Shader editing, and of course, here we have our viewport. Our viewport is in material preview so that we can actually see our textures applied to our component. Okay, so let's go ahead and do this. So the first thing I want to do is come on down here to the bottom, and just click on this little one here and make sure that this is on UV Editor. Now, just sort of hover over this joint here, and then left click, hold it down and just make this slightly bigger so we can see our UV map. Okay, the next thing I want to do is create a basic texture. So all I'm going to do is come down to our shader editor area here and click on N, and there we go. Now, we have here what's known as the principal BSDF the principal BSDF or any BSDF is basically the main node that you'll be plugging all other nodes into. So it's the core node, if you like, the starter node that everything else will be plugged into. So whenever you create a new material, you always see a principal BSDF and a final output, a material output. So this is the last node that all other nodes will be plugged into after the principal BSDF. This is the final output, the texture that will be assigned to the object. Okay, so let's go ahead. Let's just first of all, press Shift A, and let's bring in a texture, and let's go ahead and bring in an image texture and drop that just there like that. Okay, just hover over here and hold down the left mouse button and just drag this little yellow line out like this and just plug in to the base color like that. And now we've created a basic texture and assigned it to our object. Obviously, that's no use. I mean, it's nothing, is it? So let's go ahead and make this something real. So go ahead and click on open and then go ahead and find the serial box that you saved that's attached to this lecture. And there's mine, and I'll click on it, then I'll create and I'll just click on Open Image, there we go. Now we have that basic serial box applied to our object. But it doesn't make any sense. It still doesn't look like a cereal box. Everything's there, but it's not laid out nicely on our cube, and that is basically the principles of UV mapping. We have a three dimensional object, and we've just applied a one dimensional texture to it. What Blender has done is it's just simply randomly wrapped it around our object, but of course, it doesn't really work. So we need to unwrap our object. We need to imagine we need to sort of cut it. If it was real, we'd sort of take a scissors and we'd cut it along here and along here and on the back as well, and then we'd be able to unroll it flat. And you can see blenders kind of done this already here. It's created a basic UV map. It's taken this component here and it's laid it out flat. But it's currently very crude because you can see even the scales of these don't even make sense because we have sort of skinny sides and we have broad faces. And these all the faces are equal. So this isn't a very good UV map at the moment. So how are we going to do this? The first thing we're going to do is press A so we can select all. And then we're going to press U, which brings up our sort of UV mapping commands. And we're going to use Blender zone smart UV project, and it is, as it says, quite smart. It's very good at creating basic UV maps. So I'll go ahead and click on that. Now, this one's quite important, the old island margin here, and this allows us to have gaps in between our faces. So I'm just going to go ahead and click on this and take that up to maybe a 40. After I've done that, I'll go ahead and unwrap. And there we go. So now blenders actually created a really good UV map for us. As you can see, we got one, two, three, four, five, six components, and we have a gap between them because we assigned an island margin. So each one of these objects, I'm just going to go over to the side here. I'm going to press T to bring in our normal tab and I'm going to click on Move. There we go. Now, each of these objects within a UV map is called an island. So this island here, if I go ahead and move it maybe, as you can see that now, looking into our main viewport, you can see, as I move this, the texture is changing on our main object there in our main screen. You can see that now moving around. So we can actually do something with this now. So first of all, let's just maybe select this face here. So I'll press three so I can select faces. Here it is here, and I'm just going to just make this bigger so we can see it, maybe something like that. And with that done, I'm going to press everything that's on this one. I'm going to press G. I'm going to bring that to the middle. I like this. Now, this is the face that we're working. You could see it move then as we move this one here I'll just do it some more so you can see it moving and reorientating on our object. It's upside down, so that's an easy fix. Let's press r180 enter, and now it's the right way round. And now all we need to do is scale this island up until it fits on to the face of our object. So make sure that you've got node selection on. Sorry, make sure you got vertice selection on, and then just bring this up like this until it's at the top edge like this. And then do the same the bottom, bring that down to about there and on the sides, too, just bring that over. And this one, too, just bring that over like this. And there we go. We've created the face to our cereal box. So let's do the same with the side now. Let's grab this side here, and here it is. Here's the island in our UV map. So we could maybe bring this over to our ingredients side, bring this up. So you can see here it's upside down, so let's rotate it. Let's press Rights 180, Enter. And now let's go ahead and just grab vertices and pull them around until it fits on that side, there we go. Let's do the same at the top now. Let's grab these ones and pull these up like this, again until it fits on the side. We can do the back. Now we can select this one, and we can grab all of them like this. Go ahead and pull this up, bring this over, and let's rotate it. Let's press r180, enter, and let's grab the top vertices and just go ahead and pull those up to there. And we can grab the bottom vertices and pull those down to there. Grab these ones, pull these over, and grab these ones and pull these over this way. And there we go. I'm sure you're getting the principle of this now. So we could do the other side, too, so we could grab this one and move this over to here like this. Take it up. Let's rotate it. So let's press r180 enter. And let's go ahead and grab these top vertices and pull these up like this. Grab the lower vertices and pull these down like this. And there we go. We've got our cereal box created. We could do the top, as well. So we could grab this one here, and we could rotate it, r90 enter and go ahead, take this up. Drop that there like that, maybe take it over. Go ahead in this case and scale it down the X, and there we go. There's the top done, as well. I won't worry so much about the bottom because I think now we've got the principles. So here we go. That's basically the principles of UV mapping. We're taking a three dimensional object, and we are laying it flat. We're cutting it out and we're laying it flat on a one dimensional texture. We're orientating that UV map to suit the texture so that we get a finished result looking right. Okay, that's all I really want to shut you on UV mapping. Sort of now we've got the principles of it and the basic ideas of it. So in the next lecture, let's go ahead and do something similar or a sort of similar kind of lecture, anyway, with textures. Okay, so in this lecture, I don't think I'm gonna save this time. So I'll go ahead and close that, and I'll see you in the next lecture. Thanks very much. Bye bye for now. 59. Lecture 58 Textures & H: Hello, and welcome now to Lecture 59. And in this lecture, I just want to just cover very briefly textures. As I've said before, I'm a great big believer in sort of project based learning. We learn as we do things within the project we develop. It's a lot more fun, and I think you're much more likely to remember what you're being shown. But I think it is important that you also just get a basic understanding first of what is a texture set and what is a HDRI. So that's what we're going to do in this lecture. So I think the first thing we do is, let's just go ahead and bring in a plane. So let's press Shift A and mesh, and let's bring in a plane. There we go. That was easy. And the next thing I want to do is come up here to the top and click on the shading tab here so that we go into sort of the shading screen. And within this, we have our shader editor. We have our viewport. We have a browser and we have I think it's an image editor right now, but I'd want that to be a UV editor. There we go. So let's just slide this down for a sec so we can see more of this screen. And you can see in the background, we've got this weird, blurry background. That is a HDRI, a high dynamic range image. And if I come up to the right here and click this, it'll drop down, and I can come to blur and I'll just slide that down to zero. And now you can see slightly better what's going on. This is one of Blender's standard HDRIs. And you can see what the kind of scene is. It looks like a nice looking little park on a sort of not a dull day, but not a super sunshiny day, quite a sort of maybe a slightly cloudy day. And it's a 360 degree image, as you can see. What's that? Looks like a slide. That looks fun, actually. Anyway, sorry, I'll get back on track. So this is a 360 degree image. But the most important thing about a HDRI is the fact that it contains lots of light information. So we will have a sun in this scene, or it'll have information about where the sun is, and it will be sort of focusing light onto our object, which is quite directional. So you can get lots of different HDRIs. There's thousands out there, lots of free, actually. And you sort of need to look at HDRIs and decide what you need for your scene. So do you want HDRI that is done on quite a cloudy day so that you get quite ambient and flat light that won't sort of put too many shadows on your scene, or do you want a sunset or sunrise HDRI that will create long deep shadows? Do you want one on a very bright, sunshiny day, or do you want quite a dull day? So all that information you just need to consider when you sort of choose your HDRI. So there is our HDRI, and we'll be learning more about HDRIs in the next lecture. So let's come back to here now and hit this little drop down. And what I'm going to do this time, whoops, is just go ahead and send the world opacity down to zero so that our HDRI is still being applied to our object, but we just can't see it anymore. Okay, let's bring this back up now to about 50 50. And the next thing I want to do is create our very first texture. So let's come down to the Shader Editor here and click on you, and there we go. Every time you create a new texture and blender, you always get these two nodes, the material output and the principled BSDF. And as I kind of said in the last lecture, this node is like the core node that most other nodes are plugged into. So if you like this is the mothership if we're on sci fi terms, this is Battlestar Galactica right here. And then you have the material output. So this is the very final node, which will dictate what our texture looks like. So that said, let's go ahead and create our first texture. So the next thing we're going to do is just press N to bring in this little tab on the side. And I don't know if you remember or not, but I think it was in Lecture five or Lecture six. I think it was Lecture six. We brought some add ons into our blender when we were doing some final setups. One was blender kit, which we've got right here, and the other one's right here. It's node Wrangler. And in this lecture now, you're going to start to see the benefit of node Wrangler. So, click on your principal BSDF and then click on Node Wrangular and add principle setup. That'll take you to your files within your computer. And now what you need to do is go to where you saved your textures for this course. So I think I'm here, there's my textures right there. So I'm going to select one of these textures, and you can do the same. So what shall we choose? Well, maybe we'll choose. Let's choose aged bricks. Let's go for that. When we do that, we'll get this up. These four little screens like this. And what we have here is what you call texture set. Here we have our texture maps. We have four texture maps making up a texture set. This one right here is your base color map. This contains all the information about the color within your texture. So we have the redness of the bricks varying in colors, of course, and then we have the grayish cement between our bricks. Next to this, we have our roughness map, which is a little bit self explanatory. This one controls how rough or smooth our texture set will be, our finished texture, how rough or smooth it will be. Right here we have our normals and our normal controls how reflections will be on our texture. So which areas will be reflective and which areas won't be. And finally, we have our displacement, which controls the lows and highs of our texture. So with those all four together, we have our texture set. So let's go ahead and press A to select all of those. And let's click on this one, add principled texture setup, and there we go. So that is what node wrangler does for us. We would have had to if we didn't use Node wrangler Import all these four texture sets here, bring in normals, bring in a displacement, correct the settings on those, make sure that these are all on non color, and then plug in texture coordinates and mapping. And up here, where, hey, we have a texture, and that looks pretty good. I'm liking that. So we have here this is the mapping node, and this is a node we'll be using quite a lot. So at the bottom here, we can adjust the scale of our texture. So if I just hold down the left mouse button, hover and then drag down to all three, I can now adjust the scale of our texture. There we go. That's cool. So I can take that up or down. On this one, I can affect the rotation of our texture. So if I just click on the Z now, I can go ahead and rotate that texture on our surface. I'll hit escape to bring that back. And here we have location. So here on location, we can go ahead and affect the position of our texture on our surface. And there we go. So there we go. We've created our very first texture. And that's all I really wanted to show you with this lecture, what the basic four texture maps are, creating a set, what our principal BSDF is and our material output and our HDRI. Okay, so in the next lecture, this start this will start to get fun. Let's create our HDRI lighting within our scene. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 60. Lecture 59 H: Hello, and welcome now to Lecture 60. Wow. We're in lecture 60 already. We're flying through this. And welcome, as well to sort of part two of our course, which is texturing and lighting and animating and rendering our scene. And it's gonna be a lot of fun. I really enjoy this kind of element of modeling. Everything sort of comes together, you know? So let's make a start. So I think in this lecture, let's create and set up our HDRI lighting for our scene, so then we can go forward and start texturing. So let's do that. So the first thing I'm going to do is go from layout to the shading tab like this. The next thing I want to do is make sure we're on the right render engine. So come on over to the data properties and make sure that this little render properties is actually selected. And then come on over to where it says EV and select cycles. Make sure that it is supported by your GPU, not your CPU. And here in Viewport, on the samples, bring this down. For some reason, Blender has this really high standard, and I don't know why. So let's bring down the samples to, maybe even sort of 30 or 40 somewhere around there. That is the amount of times that blender will actually render during real time rendering. So it would have rendered like 100 times or created 100 samples of our rendering. So bring that down really low. You still get a very good idea of what your rendering is going to look like at 45 samples. And also make sure that denoise is turned on, and there we go and now we've done all that, let's just go over to the top here and let's go ahead and click on full rendered mode, and there we go. And our scene has gone really dark, as you can tell, and that's because we have no lighting set up yet. So let's go ahead and fix that next. So come on down to the Shade Editor tab here and go click on Object and turn that to world. So now we have two new nodes here. I'll just bring this up a little bit. We have the background node, and we have the world output. So the next thing we need to do is, let's go ahead and bring in a new node. So let's press Shift A and go for texture and then go ahead and click on the Environment texture node, and bring this in and drop this about there like Right. On this side now, make sure that this tab is on display, and if it's not, go ahead and press N to make sure that it's on, go ahead and click on Node Wrangler. Select the Environment texture node and click on Add Texture setup. Now we've got a texture coordinate and a mapping node connected to Environment texture node. There's one more node I want to bring in, which is an RGB, so press Shift A, and search for RGB curve. So if you go ahead and type that in, you would get Whoops. RGB curves, and go ahead and click on that and bring that in as well. I'll just select this background and just bring it over a little bit just to give us some space. Okay, now that you've done that, go ahead and just hover over this little tab here, hold down the left mouse button, and drag out this little thing and just plug that into the colo like that. Do the same with this one, go ahead and plug that into the color. And now our scene has turned this bright sort of pink color. And that's blender telling us that all the nodes are in place, but we need to assign an actual file to this. So let's do that next. So I'm going to use a site called Polhaven, so I'll just drag in my browser here and go ahead and expand that. And this is Polhaven. So Plyhaven is very popular amongst three D modelers. It contains literally hundreds of high quality HSDRI images. And yeah, it's just very popular. And the bonuses, they're all absolutely free. So let's just click on Outdoor here. And I've already kind of decided what HSDRI I want to use, but you can go ahead and browse all of these and see if there's something that you like. And incidentally, you can see on these images, you can see these spheres on the front. And what they're trying to show you is the type of light that's in your scene. So if you maybe look at this one here, this pool beg one, and you can see by the length of the shadows on these spheres that it's going to have some high contrast, low angled light on this scene. In contrast, you can see this suburban football field next to it, which has got a cloudy day and quite ambient. So here you've got quite flat shadowing and quite realistic lighting. You can see it as well here with this one, well, Geo Gap Road. And you can see here that the light is actually quite warm, and it's creating quite a yellowish light. And as well, you've got some quite long shadows in that. So do consider as you're selecting your HDRI, what your lighting's like. Personally, I'm going to go for something quite ambient because it creates quite realistic textures. So I've already decided which one I'm going to use, so I'm going to just type it in here or just start typing and here it is. And here's the one I'm going to use Iman Sara horn, is it? I'm not sure. Iman Sara horn. So this is the one I'm going to use. I'm going to click on this. And the option you get here is the quality of the download you want. And be warned HDRIs are large files. So do consider that. I would never start using sort of 19 or 16 k images. I would use somewhere 2-8 k images with my HDRIs. So I'm going to go ahead and use an AK, but to be honest, I've already downloaded this image in preparation for this course. But you maybe take a minute and decide which HDRI you want to use, and then when you're ready, save it to a relevant file. Okay, I'll pull this out away again. And so what I'm going to do now is click on open, and I'm going to go back to my sort of file where I'm keeping all my kitchen files in. So I've got my lectures, et cetera, and blender. And I'll click on the HDRI. And here's my file, my HDRI, and I'll go ahead and open. And there we go. So now we have some nice natural lighting in our scene. So the next thing I want to do is for a moment, I'm going to go ahead and hide those bifolding doors. So I'll just hide these in the windows and wall file, and now I'll go ahead and stand in my kitchen. And I think maybe as well, I'm going to hide my roof lights, too to bring more ambient light into my scene. And I like this HDI, particularly because the view is amazing. So that's really going to set off our house nicely, our kitchen. But also the light is quite diffuse. We don't have many really hard shadows with this HDRI. We have some really nice diffuse light. I've noticed now as I'm saying that there's definitely something wrong with that window, but I'll show you how I'm going to fix that later. So let's carry on. So the next thing I want to do is consider the view from our kitchen. So what I can do is come over to the mapping node here, and on the rotation, I'm just going to start to turn this and find the view that I like. But also, as I'm doing it, consider the lighting coming into this scene. Remember that HI lighting is kind of directional, so we do need to consider all the time the lighting. That is quite nice. We got knots of nice light flooding into the scene from this angle. And let's just have a look from our roof lights here. And I'm liking the light as well being created from these roof lights. It's all really nice and diffuse. I think I'm going to go ahead with that. The other thing we can do is we can have a look at the background node here and we can increase the strength of our HDI lighting if we want to. I think I'm going to keep mine at this stage, I can always change it at around around 1,300, I think. Okay, so that's our HER lighting setup, and this now sets us up for the next lecture where we can start creating textures. Okay, thanks very much. And Oh, let's do a save. Let's press Controls, and let's go ahead and save our progress. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 61. Lecture 60 Glass Material: Uh Hello, and welcome now to Lecture 61. And in this lecture, yeah, let's start creating some of our materials. And I think the first material well, the first material I generally do when I'm creating for architecture in interiors is glass, because then we're going to have light filtering in through the windows, and it'll give us a good representation of the natural light that we'll have in our scene. So let's go ahead and start with our glass. So I think the best one to do is our biggest glass panels, which is our bifolding door. So let's come over here to the outliner, and let's find our bifolding door and go ahead and turn that back on. Let's select the door, and let's press N to see what the scales are like, and the scales are good in this one. And let's go over here to the shader editor now and click on this, and let's bring that to object. Now that we've done that, we're going to create a glass material. So there's two places we can do this. We can either click on this and create a new material here in the shader editor. Or we can go down here to material properties and click on this one. And we can click on New here, and now we've created a new material. I'm going to double click on it here and I'll go ahead and call it glass or maybe door glass. There we go and hit Enter. So what we've got now is the same nodes as we've seen in the last lecture, the principal BSDF and the material output. But this material is going to differ from the materials that I showed you in the last lecture. At the core of the materials in the last lecture were basically photos, weren't they? We had four texture sets, four images, which made up our material. And in that case, that's called a PBR, a physically based rendering, a material made up at its core photos. This material is going to be what's known as a procedural texture, and procedural textures are simply made up from a series of nodes plugged together with the correct settings. This sort of the advantage of PBR materials often is we can scale that up to fit any surface without having any issues of the photo at the heart of the PBR being repeated. In that case, that's called tiling. So yeah, let's go ahead and do this. So I think the first node I want to bring in is the transparency node. So I'm just going to go ahead and press Shift A, and I'm going to search for the transparency node. So I'll type in trans, and there is the transparent BSDF. And I'll just set that just there. I'll bring over the material output like this, now. And as you can see, the principal BSDF is plugged into the surface on the material output, and I need to also plug this one here into exactly the same point. But there's only one, so I can't can't plug both into the same place. It simply doesn't work. So I need to bring in another node to mix these two together. So I'm going to press Shift A, and I'm going to search for a mix shader, and there it is. I'll bring that in like that. So now I'll go ahead and plug this one into this one like this. Just to remind you, I'll hold the left mouse button down, while hovering over that one and then drag and just let it punch in. Whoops, that's the wrong one. Plug that into there. Now, I'll go ahead and take the shader and I'll plug that into the surface like that. And now we have two nodes being blended into the material output. So now it's time for another node. So let's press Shift A, and let's search for the light path node. And there it is, and we'll grab that and we'll bring that into the scene like this. Let's bring in another mode now. Let's press Shift A and search for the math node. There it is. We'll bring that in like this. Move over the light path a little bit, bring this one in, and now I'll go ahead and plug the shadow array into the top value like this, and I'll go and plug the value into the factor on the mix shader like this. What I'm going to do now is go ahead and bring this value down here to, let's say, a one. And let's play around now with the principal BSDF settings. So on the roughness, as we know, glass is not rough. It's just reflective and shiny. So let's bring this down to basically nothing, something like that, I think. And now let's go ahead and bring the IOR up to get some reflectivity in our glass, and there we go, that's cool. And now let's go ahead and take the Iowa and our glass up to, maybe about a six, something like that. And let's bring the Alpha down to about half, I would say, something like that. And there we go. That's cool. So now we have our glass material, obviously, the whole thing is in glass. And in the next lecture, we'll start sort of applying other colors to our frame. I think the last thing I want to do is add a little bit more color to our glass. So here on the transparency B FTF, I'll just click on the color here. And on this slide here, I'll just bring this down a little bit to add a little bit, a tiny bit of tint to our glass, and there we go. That's cool. Now, since we have that material, we can go ahead and share that material now with our windows. So let's come around the side, and let's maybe select this one, hold shift, and select this one. And now come on down to the shader editor here and click on this little drop down. And here's the first material we've created. This door glass. So go ahead and click on that, and there we go. Now we've gone ahead and shared the glass material from our bifolding doors to our window there. So we can go ahead and do that on the other side now, as well. We can go ahead and grab this one, whole shift and grab this one, come to a little drop down and go ahead and just share the glass with those. And while we're doing this, actually, we could turn on our roof lights again. Let's go ahead and select this one and maybe hold shift and select this one. And let's go ahead and click on the glass there and assign the glass material to those. And let's do these two now, select both of those. Kick this little drop down and go ahead and assign the glass material to those. And there we go. We can actually step into our building though, and we can start to see the natural light that we'll have in our scene. And that's cool. That's looking good. Looking at this, we need to do possibly a little bit of work to our pillars, our pillars aren't actually touching the floor yet. So at some point, we'll sort that out. Okay, so I think the next thing we need to do is a save. But I think I'm going to go ahead and do a new save. Since this is sort of a mile marker on our course, we've just finished all our modeling, and we're on to texturing. Let's do a new save. So come on up to file here and go ahead and save us. And next thing I can do is just hit the little plus sign here to turn this now into kitchen two. And once you've done that, let's go ahead and do a save. Alright, there we go. So in the next lecture, let's go ahead and finish off our windows and doors. Let's create a material for our frames, and let's also create a little sort of black rubber material for our sort of seals in our doors and windows. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 62. Lecture 61 Windows & Door Frames: Hello, and welcome now to Lecture 62. And in this lecture, I just want to carry on with our windows and doors and skylights, creating the materials for these. So I think with this bifolding door selected, let's go ahead and hit the forward slash key to isolate it. And in the last lecture, we didn't really create any UV maps for this bifolding door. And well, we didn't for any of the windows and doors. And the reason being because glass is a relatively featureless thing, you know, it doesn't have any sort of patterns to it or any grain or anything like wood or stone. So it hasn't really been necessary. And the frame itself now is going to be a gray color. So as well for that, I don't really see any need at this stage to apply UV maps. So we need to assign a second material to this frame, so I'll just go ahead and tap into Edi mode with it. And yeah, we need to assign a material to this outer frame, leaving the sort of the center ones as glass. I'll show you how to do this to assign a second material. So let's go ahead and hold Alt and just select this out of frame like this. And now let's roll around to here and sort of zoom in to get this kind of angle so we can see what we're doing. And now hold down Control and press the plus button to expand our selection until we get to where would it be? About like that. Once we've got all those selected, make sure here that you're in the materials properties tab, and within this sort of area here, go in ahead and hit the plus key. And now we've created a new material for this component. Let's go ahead and click the new tab, and let's go ahead and double click on the material itself. And let's call this window and door frame material. There we go. We'll click to. And with all this still assigned now, all these sort of surface is still selected. Go ahead and hit the assigned tab, and there we go. So we've sort of selected those ones. All right. So now what do we want to do? I think looking at this bifolding door now, I'd say it's way too thick. So I think I'm just going to go ahead and press A and select all surfaces now. And I think I'm just going to go ahead and scale this down in the Y axis. So I'll press T so I can get the tab key up and we'll click on the move one like this. And now let's go ahead and press S and Y, and just go ahead and scale this down a little bit because this frame is just too big, and there we go. We'll leave that just like that. Alright, so now we need to make sure that we've got the window and door frame material selected because it's easy to accidentally select the glass and be making changes to that. So make sure you've got this one selected. And we're not going to make a PBR material with this. We're not going to sort of bring in any texture maps. We're just going to manipulate the principal BSDF to get a nice looking color on this. So I think let's go ahead and tap out of Edit mode with it. And let's just sort of hang around here on this corner so we can get a sense of reflection. And let's just go into the base color here. And on the gray scale, I'm just going to bring this down, so we get a sort of a well, a gray color. This is what I'm kind of thinking is the material we're going to do. Okay, once we've done that, maybe come over to the roughness here and just slide the roughness down to get a slight reflective material on this, kind of like that, I think. I think that's kind of nice, maybe a little bit more. That's too much. We'll put that kind of about there like that. Let's play around with the IOR. Let's bring this up a little bit to get a slight bit of reflection in it. And that's about right. I can see a little bit in it. Maybe I'll bring the roughness up a little bit more again. I just need, not so much as a glossy shine to it, but more of a sheen, I think, on this surface. And we can try just increasing the IOR a little bit. I think that's pretty much what I want. I think that's fine. I don't want metallic, but I just want a slight shine to the gray material. Maybe we'll just bring the Iowa down a little bit, something like that. And yeah, I think we'll leave that like that, now. So there we go. We've got our material now for our frame. Let's go ahead and bring everything back. So let's hit the forward slash key, and let's look at that and see if we like that. I think maybe we could go inside now and take a look at that from inside the house. And see if we like that material. And I think that's working out nicely. So the next thing we need to do is sort of make a material for all these rubbers that we've got going on everywhere. So let's go ahead and select this one now like this. Let's go ahead and click on the new right here in the Shader Editor. And let's double click on the material. And let's call this the glass rubber. Whoops. Turn off my cap locks and glass rubber. There we go. Hit the endo key, and we're away to go. And again, we're not going to really bring any texture sets for this. I don't think it's necessary. So I'll go ahead and click on the base color now and we'll bring this down into the black like this. And I never really go right to the bottom of the scale with the black, because I find that to be really unrealistic. So I'll bring that up to something like that. The roughness will leave about half and a half. I maybe bringing up a little bit more rubber materials have very little reflection, if any. And there we go. I think that's kind of done there now with that. So let's select this one now here like this. And come to this middle tab here like this and select that one and go ahead and assign the glass rubber to that. And there we go. Is there any others? What's this one here? Let's go ahead and assign the glass rubber to that, as well. And there we go. That's cool. Is there any other seals anywhere? Is there one up here? This might be one here as well. Let's select this one and go ahead and assign the glass rubber to that. And it kind of looks to me because we've adjusted the size or the thickness of the window, these sort of rubbers aren't touching the surface anymore. So let's go ahead and select all these rubbers. This one here, too. And also the one at the top. Let's select that one. And then let's also select the frame itself. And now let's go ahead and hit the forward slash to separate those. Let's deselect the frame, so whole control and just put a selection window over that. Let's press seven to see this from above. And let's press, and let's go into wire frame. And let's try and figure out now where this needs to be. I'll go ahead and bring this back again now into sort of this position now again, like this. And let's see what that looks like. Let's press S Let's go back to a solid frame for a moment. And let's have a look at this and see how we're looking. Is there anything else we need to do? Let's deselect everything and just see that those seals are sitting in the right place. And I'd say that's looking a lot better now. Okay, let's hit the forward slash. Let's bring everything back. And let's press said, and let's go back into the full rendered mode. And there we go. That's looking a lot better now. Alright, so where do we want to concentrate next? I think the next place we can go, maybe, is this window here. Let's have a go at this. So let's go ahead and select this frame here. And let's hit this little drop down in the middle and let's assign the window and door frame material. And there we go. That was easy enough. Let's select this little rubber material here now. Let's select this. Where is it? There we go to that one. Let's hit this little drop down, and let's assign the glass rubber. And now we just have this frame to do. So let's maybe select this frame like this. Let's hit the forward slash to isolate. Et's go ahead and tap into Edit mode with this one. And let's go ahead and hold and select this part here now. And let's hold down Control and press Plus and expand our selection until we've got to there. So, again, we need to create a new material for this component. Actually, I'm just going to hold Control and deselect that panel there. Whoops, let's select this one and this one as well. Let's select this one. There we go. And with those selected. And this one, as well. I'll get them all in a minute. With those selected, come on over here to the material properties tab again and hit the plus key. And we already have created the material, so we don't click new. We just hit this little drop down here and we find the window frame material. And with this all still selected, go ahead and assign. And there we go. That's done. Let's tap out of it at mid with that, and let's hit the forward slash and bring everything back. There we go. There's a window done. Let's go over to the window on the opposite side now, let's go ahead and do this one. So let's select this frame here, and let's just go ahead and assign the window and door frame material to this. Let's select this little rubber seal here, hit this little drop down in the middle and assign the glass rubber to this. Let's select the main panel now, and let's hit the forward slash to isolate. And let's go ahead and tap into Edit mode with this. And let's hold out and select this edge like this. And now let's hold Control and plus and go ahead and select the whole face. Let's deselect just that middle one there. For some reason that just keeps on deselecting the rest, but that's right. We can get over that. So we'll just go ahead and select that one, too. And with those all selected like that, come on over to the material properties tab, hit this little plus key, and hit this little drop down here and find the window frame material and go ahead and assign. And there we go. That's done. Let's tap out of Edit mode with that and let's go ahead and bring everything back. And let's see what we look. Okay, I'm going to press Shift B to re center on this area. So I'll hold down Shift and press B and just draw a square around maybe those handles like that, and there we go. That's cool. Okay, so with that done now, let's maybe just select these handles now like this. And let's go ahead and create a new material for those. Or, actually, before we do that, let's go ahead and do a UV mapping on these. So let's tap into Edit mode with them, and let's press A for all. And let's go ahead and press U, and let's do a smart UV project. Make sure we've got an island margin and go ahead and unwrap. And there we go, that's done. Let's create a new material. So let's come over here now and click on New. And let's call this the let's call this the handles. There we go. That's cool. Okay, well that's selected. Let's just select our principal BSDF. And let's come over to the Blender kit tab, and let's add principal setup. Let's find our materials, wherever you've put your texturing. So mine's right here. And somewhere here, we should have a brass material. So we got the lamp brass there. I think that's probably the one. I think it is. I think it's the lamp brass. So let's go ahead and click on this, and let's press A to select all materials. And let's add principle TextEcea. And there we go. It's that easy. So we've got everything in place here, and I don't think there's any need to do anything else to that. I'll tap out of Edit mode.pin so let's go ahead and to the other side now. And let's go ahead and press Shift B, and let's do a square around our windows here like this. And let's select these, and let's go ahead and tap into Edit mode with it, and let's press U, and let's go ahead and do a smart UV project and click on Rap. Let's press A to select A, and let's see if we can see our UV mapping is right there. So let's hit our little drop it down here and let's go ahead and put the handle material on this. And there we go. That's cool. That's done, too, as well. Alright, so where's next? I think the next place we want to work is the root flights here. Let's go ahead and do those. So let's see if we can select this little rubber. Maybe on this one. Let's try this one. There we go. And let's go ahead and assign the glass rubber material to that. Let's try this one again, see if we can just there it is, and see if we can assign the glass rubber material to that. Let's select this panel here now, and let's hit the forward slash to isolate it. And let's go ahead and tap into Edit mode with it. And let's go ahead and hold down Alt and select this edge here. And let's hold down Control and press Plus and expand our selection to about there like that. Okay, once we've done that, come on over here to the material properties tab and hit on the plus key to create a new material for this component. And let's hit this little drop down here and let's find a window for a material. And let's go ahead and a sign. And there we go. Let's tap out of edit mode with. Okay, let's hit the forward slash key now and bring everything back. And let's do the same now with this one. Let's select this. Let's hit the forward slash key and isolate that object. And let's go ahead and tap into Edit mode. Let's hold out and select this edge here, and now hold down Control and press Plus and expand on our selection to about like that. Let's come over to material properties, and let's hit the plus key. And let's find our window frame door material. And now let's go ahead and assign. And let's hit the forward slash key and bring everything back. And let's tap out of Edit mode, and let's go inside our house now and see how that's looking. So the windows are looking good, and there's our skylights this, too, and they're looking good, too. Alright, so I think in the next lecture, we'll do two things. First of all, we need to sort of create a material for our window sills, so let's do that. And then let's create a nice looking material for our walls. Alright, thanks very much. Oh, let's do a save. Let's save our progress. So let's press Control S. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 63. Lecture 62 Wall Material: Hello, and welcome now to Lecture 63. And in this lecture, let's go ahead and create a material now for our walls. Let's see if we can do that. So let's select the walls. I think the first thing we need to do is make sure we got a UV map for it. So let's check the scale. That's all good. Let's tap into Edit mode. And let's press A. Now let's press U, and let's do a smart UV project. Make sure you've got an island margin, maybe something like 20 and go ahead and unwrap. Let's look at our UV map, and that's all super neat. That's looking great. Alright, we can tap out Edit mode with this now, and we can go ahead and create a new material. So just select this and go ahead and click on. Alright, so let's name this material. Let's double click on materials, and let's call this Walz clicknt. Okay, so again, we're going to create a procedural texture with this. Again, a material with no images at its core, not a PBR, not a physically based rendering, but a procedural texture. So let's bring in the first of our nodes. So let's go ahead and press Shift A, and let's search for a noise texture. And there it is right there. Go ahead and bring that in and maybe put that over there, something like that. Now, select this noise texture. Come over to the node wrangler and add texture setup. And there we go. That's cool. Make sure that the texture coordinate is in the generated to the vector, as you can see it is there. Okay, now let's go ahead and plug the noise texture directly into the material output on the surface plug like this. And the next thing I want to do is go over to the scale and go ahead and increase this. And you can kind of see now what the noise texture is. It just creates a pattern in our texture. So let's go ahead and bring this up really high now to, let's just actually max this out, I think. Let's take this up to Let's take this up to around 900, something like that. It may be higher. Let's take this up to Well, let's take it to the max at 1,000. Now that we've done that, and we can see a kind of texture there. Let's unplug this and put this directly into the base color. And now let's go ahead. Whoops. Let's grab the color here, plug that directly into the base color, and let's plug the BSDF directly into the surface. And there we go. That's. Okay, so now that we've done that, let's bring in a color node. So let's press Shift A, and let's search for a mixed color node, and there it is. Let's bring that in and put that something like that. Now, let's unplug this. And let's plug the factor from the noise texture into the factor on the mixed color node. And now let's go ahead and plug the results back into the base color. Let's create our first set of colors here. So, actually, before we do that, I'm getting ahead of myself. Let's go ahead and grab this again now. And let's press Shift D. And let's bring a copy up now and put this above because I'm going to have four colors in this. And actually, we could go again. We could grab this one, and let's press Shift D and bring this now into the middle like this. Let's plug the result from the lower shader into B, and let's plug the result from the upper shader into A like this. And now let's go ahead and grab another from the factor and plug that into the factor on the top mixed color node. And there we go. So now we're able to mix one, two, three, four different colors. So let's create some colors now. Let's maybe go to this first one and grab this. And I'm going to bring this up into the light. I'm going to bring this maybe into the yellow. Let's try that, something like that. I can't emphasize enough at this. There is no set color that I'm trying to achieve here now or set number. When you start making procedural textures, it's all about playing around with these nodes and getting the right kind of thing. So I'll bring this one now. I think into the blue like this. And I'll go ahead and take this up a little bit like that. Okay, let's play in with this one now. So this one here, I think I'm going to pull this in a bit more into the blue, something like that maybe bring that up in the light somewhere like that. And this top one now. Oh, that's very similar to the bottom one, isn't it? Maybe I'll take this up more into the turquoise, something like that. Maybe that's slightly better. And I'll grab the top one now, bring the color up slightly, and bring this more into sort of the pinkish color. Something like that, sort of yellowy, muddy color. So now we have mixed four colors. And if we go over now to the factor here on the last mixed color, we can go ahead and slide this left and right to get the effects from our mixed color node. So if we slide it over to the right, we get, I think, more of the bottom one, if we move it to the left, sorry. And if we slide it to the right, we get more from the top one. So we can sort of play around with these colors and get whatever effect we want. For now, I think I'm going to go ahead and leave that. The way we're setting this up at any stage during our rendering as we add lighting to this, as we have texture on our cabinets, texture on our marble worktops, we can revisit this paint and do whatever we want to it. That's the beauty of working procedural textures. There is one more thing I want to do with this though. Let me just pull this over and pull this one over, and I want one final way of adjusting this final color. So I'm going to bring another node. I'm going to press Shift A, and I'm going to search for an RGB curve, and it's right here. But if you start typing it in, you'll get it, and I'll go ahead and drop that in the mix like that, and it's already put itself in for us. So if I go ahead and click in the middle of this now, I create an extra control point in this curve. And if I pull this up, I get a much lighter appearance. And if I pull it back the other way, I get a much darker appearance. So this is one final way of getting even more adjustment in our finished color. So for now, I'll go ahead and leave that right in the middle. And like I said, we may well carry on adjusting this later. But we've got no texture to our surface right now. We just have this nice looking color. So what I want to bring in now will allow us to put some texture on the surface. So the next node I'm going to bring in is called a displacement mode. So I'll press Shift A, and I'll go ahead and search for a displacement node. It's right here. But if you start typing it in, you'll get it. I'll bring this in and put this maybe something like this. Okay, I'm going to grab a point from the vector here, grab this and put this into the normals on the displacement node. And I'll grab the factor from the noise texture and put this into the height of the displacement node. And now I'll go ahead and grab the displacement node point, and I'll grab that and put that into the displacement node on the material output like that. And you can see now we've got a texture. We actually got a nice looking texture, and that's cool. But obviously, I think that's too much. So I think the first thing I'm going to do is bring the scale down significantly. So I'm going to grab this and I'll delete that, and I'm going to start this with a zero, 0.005. Let's try that. Knock Enter. And now we have a much lighter texture. That's something much more like it. And I think what I'm going to do is here on the mapping note, I'm going to increase the scale. Va scale here on a noise texture. If I just hold hava over the top, hold down the left mouse button and select all three of these, and I'm just going to go ahead and increase this texture to increase the scale of our noise texture even further to something like that. So now we do have texture there, but it's fine as you would expect it to be on a painted wall. Alright, so I think the last thing I want to do with this is let's just play around with the principal BSDF a little bit. So I think I'm going to bring the roughness down so I have a slight bit of sheen on this wall. And now I'll go ahead and bring the IOR up. So we have sort of a sheny surface. So it is very, very slightly reflective. And there we go. So that's our painted wall surface. And I think for now, I'm happy with that, but like I said, we may adjust at a later date. But then looking at our windows next to this, I get the feeling now our windows are too dark. So I'll click on the windows. And here on the base color, I'll just select this. And I'm just going to bring this gray scale up a little bit, just to maybe make this window material now, slightly lighter. Let's have a look at that and see how that looks. Oops. And yeah, I think that's slightly better now. Just a slightly lighter gray seems to be working in combination with our wall color. Okay, so the only other thing I want to do in this lecture now is create a paint surface on our sort of seal boards here. We haven't done that yet, so let's select this one. And let's go ahead and select the one on the opposite side now. Let's select both of those, and let's hit the forward slash, and let's isolate those. Okay, let's select maybe one of them. And I'm just going to press Shift B, and I'm just going to do a selection square around this just to sort of zoom in a little bit on it. And let's check the scale on that and the scales all good. So let's tap into Edit mode on it, and let's press A to select O, and let's press U. And let's do a smart UV project. Make sure you've got Ilan margin and go ahead and unwrap. Yeah. So let's tap out of Edit mode with that now with it still selected. Let's click on N. And let's call this the wood gloss material. There we go. And this is going to be sort of, you know, like you get an oil based paint for wood, and it's called like gloss. So we're going to be using that kind of sort of paint surface now on this. So we do have a texture set for this, so I'm just going to select the principal BSDF. And I'm going to come over to the node wrangler and I'm going to click on this one. And let's go ahead and find our texture set. So mine's right here, and you need to go wherever you've saved yours. And somewhere here, I have a gloss paint. And it's here somewhere here it is white glass pane. I'll click on this and I'll press A to select, and I'll add principal texture setup, and there we go. I'd say that's not looking right yet. I say, the first thing we need to do is go ahead and rotate that. I'm going to just come to this mapping node here and the Z axis, I'm going to slide that over to turn the rotation of this grain. I want to turn that until it's running lengthwis on the surface like that. I'd say the texture is too big. So the next thing I'm going to do is go to the scale here, hold down the left mouse button, drag that to All Whoops. Do you select that one? Hold down the left mouse button and select all three and go ahead and increase the scale on this one until we get something a bit more like that is what I'm after. And there we go. That's cool. Okay, so let's select the one on the opposite side now. And I'll just press Shift B. And I'll just grab this one, draw a selection square around it and move in on it. And let's repeat this process. So let's select it, check the scale. It's all good, tap into Edi mode, press A, and go ahead and press U, and let's do a smart UV project and go ahead and unwrap. Okay, let's tap out of edit mode. Let's come down here to this middle one here and let's find our new material. And here it is, the wood glass material, and go ahead and apply that. And there we go. That's cool. Okay, I'll hit the forward slash, and I'll bring everything back. And yeah, let's just zoom in and have a look at that in context. And, yeah, that's looking good. We've got a nice little bit of shine on that, and we have some texture as well, so that's absolutely perfect. Alright, so we've made some good progress in this lecture. Now we have a nice wall color, which is making everything else look really sort of now we haven't got light absorption. We've got kind of light reflection, so that just helps us see what everything's going on now. So I think in the next lecture, maybe we work on a floor material. I think that'd be a good one to do next. Alright, so let's save our progress. Let's press Control S and save our progress, and then I'll see in the next lecture. Thanks very much. Bye bye for now. 64. Lecture 63 Floors & Worktops: Hello, and welcome to Lecture 64. And in this lecture, let's go ahead and create some more materials. So let's create maybe a floor material. I think that would be a good one. We feel like we're making some really good progress with the floor material. And then also maybe let's create a material for our worktops. And if we get time, maybe the brick for our chimney, that would look really good. So let's see what we can do with this. So I think the first thing we do is we select our walls and we tap into edit mode like this. And let's select a single floor face. And let's go over to select here and let's go for Select similar and select all coplanar. And there we go. That's cool. Now let's come over to the material properties tab, and let's hit the PASCi here like this. And let's click New and let's double click this. And let's call this the floor. And go ahead and enter. With that still selected, go ahead and assign, and there we go. That's cool. We can tap out of Edi mode now, and we can see what we do. And that's turned white because we have a new material created to yet, but we don't really have anything on it. So let's zoom out until we see our principal BSDF and let's go ahead and select that. Let's go over to our node Wrangler, and let's click on Add Principal setup. Let's go find our textures, and they're right here. And I have a separate file for floor because I have three choices in here. I have a wooden floor, floor tiles, and stone floor. So let's try, first of all, let's try the stone floor, and I'll press A, and I'll go ahead and select principal texture setup, and there we go. Let's go over to the scale here, and let's just hover over the top, hold down the left mouse button and select all three. Whoops. Got that wrong. Let's try that again. There we go. And now let's try increasing the scale until we get the sort of size we'd like to see these stone tiles at. And I would say, Is that too big still? Maybe let's try taking that a bit more. To something like that, maybe is about right. Okay, so there's sort of option one. And let's sort of explore the other options as well and just see which we prefer. So that's the first one with this sort of very traditional, very old looking sort of stone floor. So I think, first of all, let's go ahead and just delete all of these nodes here and also the displacement, and let's just go ahead and delete those. Let's select our principal BSDF again and let's find the second one. Add principle setup. We'll go back one to the four tiles. Let's press A, and let's go ahead and add that. And let's go over to the mapping node, grab the scale, and go ahead and increase that until we get something about what we're thinking, which would be about like that. So there's a second option on this. And then our third option is, let's go ahead and delete these. And let's add the principal setup again and add principal setup. And let's go to the floor wooden. We'll press A for all and go ahead and add principal texture setup. So let's go ahead and scale that down, of course. That's huge. So we'll grab all of these and just go ahead and change this number around. Until we get sort of about a floor board size, which is, I would say something like that. And I automatically I like that. I like the warmth of that, and I like the texture of that. I think I'm definitely going to go for that one. Okay, so I'll leave that like that. Let's just have a look at the scale, see if I want to change that some more. Maybe I do. I'll just go ahead and select all three, just up the scale slightly more to about there, I would say like that. And yet, that's my personal choice. I like that the most. So there we go. I mean, it's completely up to you which you prefer, but I'm going to go for that, I think. And I love the reflections coming through that window onto that floor. That really adds a nice level of realism to. Okay, so that's that the. So where do we want to go next? Let's move to the worktops and do that one. So let's select a worktop. Let's select this one maybe. And let's look at the scale. The scale also all good. Let's tap into Edit mode with that. Let's press A, and let's press U, and let's do a smart UV project. Make sure you have an island margin and then go ahead and unwrap it that. Let's look at our UV map, and that's absolutely fine. So let's create a new material for that, so let's go ahead and click on, and let's name it. And let's call it the worktops and go ahead and enter, and there we go. Okay, so let's select our principal PSDF and let's go over to the node wrangle and add principle setup. And let's go back to the main group of textures, and let's find marble, and there it is. And let's press A to select all, and let's go ahead and add principal texture setup. Okay, let's tap out of Edit mode with that now so we can see what we've got. And that's looking really good straight out of the box. Let's just have a sort of a look at this closer to. I don't think I want to adjust that. I think it's looking fantastic straightaway. I'm going to leave that, I think, just where it is. Or let's just I got to have a play. Sorry, but I've got to have a play. I'm just going to go ahead to the scale here and just try increasing the scale and just see what we get. And I think I'm glad I did that. I think that's looking slightly better like that. Let's now just go over to the BSDF let's look at the IOR and just try adding slightly more reflection to our surface, now, like that. And, yeah, now that's really cool. I'm liking that. So let's select this piece now, and let's look at the scale and the scales Oh, the rotations out. So let's press Control A and apply rotation and scale. And let's tap into Edit mode with that. Now, Let's press A, and let's press U, and let's do a smart UV project. Make sure you have an island margin and go ahead and unwrap. Once you've done that, tap out of Edit mode. Find our marble material. Worktops there we go. And there we go, there is. And that's our splash back done now, as well. And that's cool. So let's go to this one now. Let's do the same thing. Let's go ahead and tap into. Let's check the scale. The scales all good. Tap into Edit mode, and let's press A. Let's press U and let's do a smart UV project, and let's go ahead and unwrap. Let's go ahead now and tap out of Eddy mode, and let's go ahead and add worktops. And there we go. That's cool. I'm getting quite a lot of repeating on this pattern here, so I think I want to do something about that. But you can see here that repeat pattern is just not nice. So there's a few things we can do with this. We could just tap into Edit mode, and we could go ahead and press A to select. Oops, wrong one. Let's tap out of edit mode with that one, select this one and tap into Edit mode. And we could find the island here, and we could grab this. And we could do things like maybe pull this to the middle and we could go ahead and rotate this as well like this, just to get a slightly more randomized pattern. But we've still got repeating in this, which is something that we don't want to see. But here's the secret. I can adjust this worktop because if I adjust the scale or anything in here, not only will it change the pattern in this splash back which we want to, it'll also change the pattern on this as well. So how do we get over that? What we need to do is create a copy of this material for this one. So here, in the worktops, come over to this one now and create new material. And now we have a worktop 01, meaning this is a copy. And since we've done that now, we can actually maybe let's just tap out of Edmond so we can see it a bit clearer. We can come over to the scale now, grab the scale, and go ahead and change that to get something a bit more realistic. So I'm going to take that to something like that now, I think. And maybe I'll just go ahead and rotate that. So I'll tap into Edit mode with it, press A, maybe just rotate it a bit here now and see if we can find an area which kind of we like and see what that's like. Don't like that repeat pattern there, so I'll press A again, and maybe just move this around, rotate it again. And let's go ahead now. Oh, that's actually not too bad now. I think I'm alright with that. Yeah, I'm going to leave that alone now, and there we go. That's what I want with that splash back. Okay, we could look at this one. Maybe we can go ahead and prove this one. Let's take this one now, and let's create a new material for this, as well. Now we could grab the scale again and we could try changing the scale around on this until we get something, which is one slightly different to the worktop and to kind of the pattern doesn't repeat. And that's looking a lot better straightaway. Okay, so let's see what we can do with this now. Let's go to this side now and select this one. And let's look at the scale and the scales all good. So let's go ahead and tap into Edit mode, and let's press A, and let's press U, and let's do a smart UV project and go ahead and unwrap. Let's go ahead and select a material now. So we've got three worktops. We don't want to select the first one because that's scale to the main worktop. So let's choose one of these. So I'll go ahead and select this one, I think. Let's tap out of Edit mode and see how that looks. And we've got some repeating there, I see. So let's see what we can do. So let's tap back into Edit mode, grab our UV map, and just pull that around and maybe rotate it. And because we're adjusting the UV map and not adjusting the settings on the texture, we're not affecting the overall texture. So I'll tap out of Edit mode and see if that's any improvement and just make sure there's no repeating in that pattern, and that's looking a lot better. Okay, let's select our main top now. Let's tap into Edit mode with it. Let's press A. Let's press U and let's go ahead and do a smart UV project. Go ahead and unwrap. Let's come down to here, let's click on this one, and let's add our main worktop group. Now let's tap out of Edit mode for a moment and let's see how that looks. And is there any repeating in that? There is, which means also there might be some repeating in the opposite side. So I think I'm just going to go ahead and scale this up a little bit and just see if we get a point or maybe bring it down in the scale to something like that. Let's have a look. And maybe something like that. And then let's press A. Sorry, let's tap into Edit mode with it. And we can grab all of the UV map, and we could go ahead and press R, and just try rotating it to get rid of that repeat pattern. And there we go. That's looking a lot better, I think. So we can check out the other side because we've modified this one without creating a new material, that means the one on the other side will have changed, too. But I don't see that as being an issue because the pieces are so similar. And, yeah, I think that's absolutely fine. So let's sort of select this last splash back here. Let's do that one now. This one here. And let's look at the scale, and it's out. So let's press Control A. And let's do a rotation and scale. And let's tap into Edit mode with it, and let's press A, and let's press U, and let's do a smart UV project. And let's go ahead and unwrap. Okay, let's select a material now, and I'll go for Wtops 01, and let's tap out of Edit mode and see what we get, and that's absolutely fine. I'm happy with that. Okay, we got one last one to do, which is the main worktop here, so let's go ahead and select this now. Let's look at the scale. It's all good. Let's tap into Edit mode. We'll press, and we'll do a smart UV project and go ahead and unwrap. And now let's go ahead and select worktops. Not one or two, just the first one. And there we go. Let's tap out of Editode and see how that looks. And the does I can see repeat pattern in this. So I think in this case, I'm going to go ahead and create a new material again so that I don't change the worktops in the back there. I'll come over to the top here, hit this little one here and duplicate this to version 03. And now I can select the scale on this, and I could go ahead and adjust this scale until I get a non repeating pattern, something like that. All right. So if I wanted to, I could actually just tap back into Edit mode now, and I could grab the UV map, and I could go ahead and scale that maybe a little bit, maybe up or down. And I could go and do a slight rotate just to see if I don't get any repeat pattern and see how that looks. And yeah, I think that's absolutely fine. I'm happy with that. Okay, so we've done our worktops now and we've done our floor, but I don't think in this lecture, we'll have time to do our brick chimney. I think that would just be one step too far. So let's go ahead and tackle that in the next lecture, and we'll go ahead and do the mirror behind this chimney, as well. Okay, thanks very much. I'll see you in the next lecture. Bye bye for now. 65. Lecture 64 The Bricks: Hello, and welcome now to Lecture 65. And I was just between lectures sort of finding nice views on our kitchen. And it's really coming on nicely. I like the color that we've got on our wall, and I really love this floor. This is my kind of floor, and our worktops too are already making a difference. So the other big thing that I think will create a lot of impact is our chimney. So I think in this lecture, let's go ahead and do that. So let's select the chimney, and let's hit the forward slash and isolate it. And I think what I want to do is reduce the light for a moment. So I'm going to go back to world, and let's find this one, the backdrop. And it's on 1.3. Let's remember 1.3. And now let's bring this down to about one, something like that. And let's check the scale, and that's all good. So let's tap into Edit mode with it, and let's press A, and let's press U, and let's go ahead and do a smart UV project. Make sure we get an island margin, maybe around 20, and let's go ahead and unwrap. And let's have a look at our UV map and our islands, and that's all looking good. Okay, so let's go back now to object before we do anything else wrong with our world. And let's create New. Let's click on New. And let's call this the Brick Walls. Click Enter. And there we go. So now we've got a texture created. Let's get a material for it. So select the principal BSDF. Head over the node wrangler and just add principle setup. Let's find our textures. Somewhere here, I have aged bricks in here of the art. I'll double click on this and I'll press A our principal texture setup. I'll go ahead and press this. And there we go. So there's our brickwork. So obviously, that's far too big. So let's maybe tap out of Edit mode for a moment, and let's just go ahead now and come over to the mapping. Let's hold down the left mouse button, select all three, and let's go ahead and scale this down until we get this kind of where we want it, which I think is roundabout there. I think that will be good. But we do need to sort of look at this now and pay some attention to this and make sure that the bricks line up nicely, and they all make sense. So let's go ahead and do that next. So I see here on these edges, we have these tiny little bricks and on this too. So first of all, I don't think that works, so let's tap back into Edit mode. And let's select all these front faces like this. And maybe with that done, let's just go ahead and make sure we just select a few on these bevels, so we'll hold down control and press plaster, sort of meet halfway on those bevels. And now we've done that, let's come over to the UV map and select all of these. And let's just have a look at this from the front now and try moving this until we lose those little half bricks. And that's kind of not bad like that now. I'm seeing a bit more than half of brick there. Maybe I'll try moving this around again a bit more. And just shunt this around and see what we get. And that's not bad. We're getting some half bricks there, which is okay. We just got rid of those horrible little Oh, we got some tiny little ones there. Let's try just scaling this up slightly. So let's just try scaling this up in the X. I'll press S and X. And either scale it up or scale it down either way, just to get rid of those little weird little brick ends. I don't want to go too much on that because I don't want to stretch the bricks too much. So let's try again now, just moving this round on the X until we've got some full bricks and not too many of those weird little tiny sort of end of bricks. They're no good. And that's not bad now. I've got half bricks, half bricks. I'm okay with that. So I think now we're good with that one. Okay, so let's look at this end too now. Let's select here and here. And let's just select half of this bevel. So let's hold Control and press that plus twice to get to there like that. Let's select all the UV maps now. And let's go ahead and just set the height on this and make sure that the joints in the brickwork line up, and they do. I think that's about right. And now let's make sure, again, we've got no weird little tiny little brick ends, which would be something like that. Let's just check that line through and make sure we got either whole bricks or at least no tiny little brick ends. And I think that's a lot better. Okay, so let's do this same here now. Let's have a look at this face here. Let's select this one here, and let's go ahead and hit the Control plus and just expand our selection. I'll just hit the negative just once just to get to there. In fact, no, I'll go one more. I hit Control plus and just go to there like that. And at the end of the day, I'm not worried about the back here because we've got a mirror covering it. So now we got those. Let's go to our UV map, and let's select all the islands. And let's go ahead and just move these around until our brick joints line through again. Let's have a look at that. And let's try moving that around. And let's try just scaling it up slightly in the Y. We'll press SNY try moving this around until we get the correct brick joints. And now we'll try moving this on the Y again, and hopefully sooner or later, we'll get the effect that we want. I'm still not sold on that. I'm going to press S and Y. And yes, try increasing the scale until we get the brick joints about right. Let's try taking this up a little bit and just try taking it down. There we go. Let's take a look at that and see how we look now. Let's tap out of Edit mode. And yeah, that's looking a lot better now. I think I'm happy with that. Okay, so let's have a look at this other side now and see how this looks. Let's go ahead and tap into Edit mode with this one. Let's select this face here and let's hit Control plus and just expand our selection to there. And again, let's press SNY and just try scaling this up a little bit more to something like that. And now let's try just bringing this over to make sure we got no weird little ends in the bricks. And let's just try moving this up or down until we get these brick lines lining through. And we're starting to get that something like that. Oh, my goodness, that wasn't easy. It's running out a little bit at the bottom. But I think up here where the eye will pick it up, I think this is looking pretty good. Okay, so let's try this side now, and let's select this face and this face. And let's hit Control and plus. And let's try just grabbing the island here and just moving this up or down until we get these bricks lining up something like. And let's tap out of Edit mode and see how that's worked. And actually, that one's worked out just fine without too much hassle. So let's tap out of Edit mode, and let's try bringing everything back now. Let's hit the forward slash. And there we go. We've got our bricks in now, and, yeah, they're looking pretty darn good in position. So let's bring the light back up in our scene now. So let's go to world. And here in the backdrop in the background, let's take this back up to 1.3. Maybe 1.4. We'll try that this time. And there we go. That's cool. So now we got this mirror here. Let's do that one. Let's go back to Object. And let's create a new material for this mirror. And let's go ahead and call it the mirror. And go ahead and click Enter. And I think the first thing I want to do is maybe just go ahead and bring the metallic up on this really high to the top like this and then bring the roughness down as well. To almost the bottom. And let's bring the reflection up. And there we go. Just like that, we've got a mirrored surface back there just behind our oven, and that looks absolutely spot on. So we got one more to do that I want to do in this lecture, and that is this little thing down here, this little I call it a hearthstone underneath our bricks, so let's go ahead and do that underneath our oven, sorry. So with that selected, let's check the scale, and it's all good. Let's tap into Edit mode. Let's press A, and let's press U, and let's go ahead and do a smart UV project. Make sure we got an island margin and go ahead wrap. Let's look at our islands and our UV maps, and they're all really good. Let's click on NU, and let's call this. What am I going to call this? I think I'm going to call this slate. And there we go, Let's click Enter. Let's select the principal BSDF, add our principal setup, and let's go find our slate material. There it is. Let's double click on this. Let's press A to select all of those texture maps, and let's add principal texture setup. Let's tap out of Edit mode now and let's see what that slate looks like. Maybe people just go ahead and isolate it. And it's actually not too bad, but I think we can do better. Let's come over to the map here, and let's just select all the scale, and let's just try reducing the scale or increasing the scale, actually, until we get something that we're looking for. Let's zoom in on this and see what we've got. And I think that'll be fine just like that. Okay, so let's bring everything back now. And there's a stone in place under oven. And to be honest, you really don't see much of that surface. Okay, so with each sort of step, each lecture, we make some sort of big changes to our kitchen now. I think that fireplace, that chimney, that brick chimney is looking really good. So what we could actually do while we're here and we're sort of working with the brick material is we could come outside and we could grab this wall here, and we could check the scale, and that's out. Let's press Control A and apply rotation and scale. And let's tap into Edi mode with it. Let's press A. Let's press U, and let's do a smart UV project and go ahead and unwrap. And now let's come to the little drop down here. Click on this, and let's find our brick walls and go ahead and apply it. Okay, let's select maybe this face here. And let's find that island in our UV, let's write this one. Let's do an r90, enter. And that's the only one, to be honest that matters. So there we go. We've done that one. So let's select let's tap out of Edit mode with that, and let's select this one now. And let's look at the scale, and that's good. Tap into Edit mode, press A, and U, and let's go ahead and do a smart UV project, and unwrap. And let's look at the UV map, and that's all very neat. So let's go ahead and grab our brick wall material. So some are correct and some are not correct. So let's go ahead and sort this out. Let's grab this one, this one, this one, this one, and let's have a look at the other side, the important side, in fact, we got this one, this one, and this one. And once we've got all of those, come to the UV map, grab them all and press, 90, Enter. And let's have a look at those. I'm going to press Shift B and just do a zoom in on this area so I can see what I'm doing. And let's have a look at that. And yeah, that's absolutely spot on. That's fine. That's tap out it made with that. And yeah, that's looking good. So now we can go back in now. And we've got this brickwork too now, just looking good and giving us a feeling that there's more to this house than just the kitchen. We have more to the house. And we have this little dwarf wall, as well, so that's cool. Okay, so let's zoom back. And I love this floor, and I love the reflections that we're getting. That's looking really good. And we've got our timber work, sort of have a texture on all our beams, and we have these curtains done, that's going to look really great. Okay, so let's go ahead and do a save. Let's press Controls. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 66. Lecture 65 Cabinet Material: Hello, and welcome now to Lecture 66. And in this lecture, I think, let's go ahead and create and apply the material for our cabinets. I think, again, that'll be something else that'll really make our scene pop. So let's go ahead and do that. So I think the best one to sort of select first, I would say, as our island. So let's just select that. And again, I'm not going to UV map because I'm going to apply, like, a painted surface to these. So I don't really see the need to. So I'm going to go ahead and create a new material, and let's click on it, and let's rename this. Let's call maybe cabinets. Click Enter, and there we go. Let's select our principal BSDF let's go over to the node wrangler and add Let's find cabinet paint. There it is. Double click on that. Let's press A, and let's go ahead and assign our principal texture setup. And there we go. That's cool. Let's just move over our material output for a second like this. And I want to bring in one extra node. I want to bring in the RGB curve node. So I'll press Shift A and search for the RGB curves and bring this in like this. And I think for a moment, let's just go ahead and assign the material to a few more components so we get a better idea. So let's select this one. And let's go ahead and put the cabinet material on that. Grab this one and go ahead and put the cabinet material on that. And because we used a lot of old D, we're actually assigning colors to a lot of components at once. So let's select this one and put the material on this. And then this one, too, let's do this one, too. And imagine the other side has already done for us, and it is, that's fine. So we could also do maybe this top drawer here. And let's see on the other side. We just got this one here, as well. Alright, that's cool. So we've got a block of Carla there now so we can see what we're doing. And I think as well, I want a slight bit of reflection or more like sheen off this. So let's go to the IOR and just up this to maybe 1.9, something like that. I'd say that's right. That's looking good. And now, if we just go to the RGB and just click Dead Center, we can put a control point in there. And now with that control point, we can either make this surface lighter or darker. And see what that looks like. And I think me personally, I'm liking a slightly darker, richer color on this could go lighter. So completely up to you, this is completely subjective. So you can go ahead and do whatever you want on this. But I think for me, I'm going to sort of go towards the slightly darker material. Something like that, I think I quite like. Okay, so now that we've done that, let's just go ahead and assign this material to other surfaces. And again, because it's one material we're assigning to everything, we can always come back and adjust this at any stage we like. So let's select this one maybe now. And let's just grab the cabinets on this one, this one, too, and select the cabinets, this little piece here, and the cornice on top. Let's do that. And this one here as well. And, of course, this one, and this one. And let's do the end too. Let's have a look at that. And there we go. That's already making a huge difference to our kitchen. I am liking that. So let's do our extractor Hood. Let's just grab this and maybe this one, and let's go ahead and assign the cabinet material to that and this one. There we go. That's cool. And let's also go ahead and do this one. Oops. This one here, put the material on that and this one, too. And then this one too. Got these little ends here. I haven't done these. Let's go ahead and do those, and maybe I've missed the one of the other side, too, and I have, so let's grab this one and assign the cabinet material to that. So we can go ahead and do these lower cabinets here now. And this one, as well, this little plinth, let's do that. And this one and the plinth, as well. And the end panel. Let's do that, too. So let's turn around now, and let's have a look at our larger cabinets. Let's select this end here, let's do this. And the main cabinet. Let's do that. And let's do the cornice up here. Let's grab this and do this, and this little return. And we have this little plinth piece, and we have the lining here. Let's do that. And me personally, I'm going to do the door the same color as a kitchen, so let's go ahead and grab that. And let's go ahead and do this one, too. And we also have the door frame here. Whoops, if I can get to. There it is. Let's do this one. And this one here, too. Zoom in a little. Let's see if I get closer to it. There it is. I took a little while to grab. And let's grab this one here, too. And we've got the cabinet above. Let's do this one. And we have this cabinet. Let's do this. And we have this one as well. And we have the cornice. Let's do that. And a little return on the cornice, and this one, too. And the doors. And last but not least, we have these couple of plints here. Okay, so that's really made a huge difference to our kitchen now. We have all the cabinets painted, and everything is really starting to come together. So that was one of our shortest lectures ever, and I don't think I'm gonna push it. I think it's nice to have a short lecture now and then. So I think in the next lecture, let's start applying textures to some of our details. So maybe we'll do some of these handles and we can do the tap. We can do the sink, and we can do maybe this wine rack and our shelves. And yeah, let's just apply some details. We've got the sockets, as well, and maybe even the lamps. But yeah, let's do that in the next lecture. Okay, so let's definitely save our project progress. Let's press Controls. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 67. Lecture 66 Handles & others: Hello, and welcome now to Lecture 67. And in this lecture, let's go ahead and just apply some materials to smaller components now and see if we can make a big change by applying lots of colors to small opponents. If you kind of get my drift on that. Again, that's quite a high impact thing to do when we start putting details into everything. So I think the first one I'm going to do is the handles. So let's just find a handle, maybe. Select this one here in the middle. And let's just check the scale, and that's good. And let's go ahead and create a new material for this. And let's call this the well, let's just call this the brass handles. There we go. And let's go ahead and select the principal BSDF. Let's add principle setup. And let's go over to our textures, wherever they are for you. And let's go ahead and find our brass. It's here. I've called it lamp brass, so go ahead and click on this. Let's press A to select, and let's go ahead and apply principle texture setup. Let's zoom in on that and let's have a look. And that's absolutely fine. It's a slightly aged surface brass, and that's exactly what we want, I think. So by doing that, because we've used old D quite a lot to create duplicates, that means the material has been carried over to these other handles. So let's go ahead and do this one now. Let's select this one. Let's hit it'll drop down like this. Find out brass handles file. Here it is and click on that. Alright. Let's maybe do the other side now. Let's find these ones. Let's select this one here. Here the little drop down, find our brass handles, and select that. And that's done all of those. We just have this one here now to do. Let's grab this one and brass handles. Alright, so maybe now let's come to this side and see what's already been done. And these have already been done, so that's cool because of the D command. So we just have these lower ones here. Now. Let's maybe select this one here, hit the little drop down, and let's apply the brass handle material. And now that's done, as well. All of these lower cabinet handles on this side. That's cool. Let's actually come over to the other side now and see what's been done, and all of these also have been done. That's really cool. Let's try the tall cabinets now. Let's see what we need to do on those. Maneuver our way around to it. And it looks like these ones here need to be done, so let's just select this one here, add a material, and add our brass handle material. And there we go. That's all the handles done now on the cabinets. But I think, as well, I'm going to use the same material for the handle on our door. So I'll select this, as well, hit the little drop down and apply the brass handle material. And again, because this is no we don't have a wood grain or a texture or anything, in this case, again, I'm not applying UV map because looking at that, the details are just fine. Okay, we have these little hinges, too. You have this one here. Let's select this, and let's apply our brass material to that. And did we Alt D that one? Yes, we did. That one's brass now as well. Alright. That's cool. That's all the handles done. That was very quick. So now let's do I think let's do the sockets on the back wall. So what I'm going to do is just select one maybe, and I'll hit the forward slash to isolate that because I'm thinking there's gonna be more than one material on these. Okay, let's go ahead and select it, and let's look at the scale on the rotation, and that's fine. So let's tap into Edit mode. And I think in this case, I am going to apply UV map because we're going to have multiple textures on one surface. So I'm going to go ahead and press A to select O and then U, and let's go ahead and do a smart UV project. Let's make sure we've got an island margin of around 0.20, and let's go ahead and unwrap. And there we go. That's quite a complex looking UV map, but it's nicely laid out. That's fine. Okay, I think what I'll do now is I'll press A to select all. And I'm just going to go ahead and find our brass handle material. Here it is and go ahead and apply it. There we go. So I need to create a new material now for this sort of these T shapes here, and maybe the switches, too, we'll see. So coming over to this side now and hit the little Plasky. And I think what I'm going to do in this case is create a new material. So I'm going to click on you, and I'm going to call this black plastic. There we go, go ahead and enter. And I think all we can do for this material now is, well, first of all, let's select maybe this face here and this face here. And let's hold down control and press Plus and expand on our selection until we get something like that. Now, with that done, let's click on the black plastic and let's go ahead and assign that. And that's turned white because we don't have anything. We haven't adjusted any properties to the black plastic material yet. So let's just grab the actual base color and let's bring that down into the black like, something like that. And now on the roughness, let's bring this to about there, I'd say, like that. And let's put a slight bit of reflection into it. Something like that, I would say will be fine. Okay, let's tap out of Edit mode and see what that looks like, and that looks absolutely fine. Alright, let's tap back into Edit mode with this now. And I think I'm just going to select dead center of these two switches, and I'm going to hold down Control and press plast and expand on our selection until we've got something like that, I would say. I think that's about right. And now let's click on the black plastic again, and let's assign the material to those. And while we're here, these sort of brass centers to these don't make any sense. So let's hold shift and select all of these. And again, I think I'm just going to expand on my selection just a little bit. So I'm going to hold control and press plast and just expand a little bit to about there. Now that I've done that, I'll go over to the corner here and click on black plastic and go ahead and assign to those as well. Okay, let's tap out of Edit mode at that and see how that looks. And it looks good, but I think I'd prefer these switches, or do I, or shall I leave it like that? I'm wondering if they should be brass. Actually, I think I'll leave it just like that. I think that's fine. So I'll go ahead and tap back into I'll go ahead and desolate that by hitting the forward slash key. And again, because we've lt deed, this one next to her has got the same material applied. Let's check the others, and they have to, and let's have a look at the other side. And all those now have got the material applied, and they look right? Alright, so where do we want to go next? I think the next one would be that we could do is, let's go ahead and start applying materials now to these surfaces here. We've got our wine rack here, and I'm thinking that's going to be oak, and we've got our shelves inside this cabinet, and I'm thinking they're going to be oak as well. So we could do those next. So let's maybe select this lower shelf here and let's tap into Edit mode with it. And let's press A and then U, and let's go ahead and do a smart UV project and go ahead and unwrap and there we go. So I think we could go ahead and isolate that for a moment. And let's go ahead and create a material for that now. So let's click on N. And let's call this Fine ok. Click Enter. And let's grab the principal BSDF. Let's go ahead and add prints and find our Fin oak material. Here it is oak finished. Sorry. Let's press A, and let's go ahead and add principal texture setup. And let's see what we get. And we've got a little bit of work to do to this by look. So let's just go over to the mapping node. Let's hover over the top one here, hold down the left mouse button and select all three, and let's go ahead and increase the scale on this now to get a sort of better looking oak material, and there we go. Let's select this top face here now, let's go over to our UV map. We'll grab it and we'll just go ahead and rotate it 90 degrees and have a look at that and see how it looks. Let's have a look. Do I want to do anything with that, or is that good? I think overall, that's pretty good. I think with that, I'm going to go ahead and leave it. You can see just in the middle there, a line. And you can see a line here at the front. In fact, I'm just going to grab it, and I'm just going to pull it over slightly in the X axis. There we go. And this line here is called tiling. And this line here is basically the disadvantage. Of PBR, physically based renderings, because it is limited by the size of the photo. So occasionally, you do get kind of lines like this where the image at the heart of a PBR material had to be repeated. Alright, let's tap back into Edit mode with this again. And now let's just select this front face here and let's go ahead and crab it, and let's press, 90, enter. And there we go. That's cool. I think that's absolutely fine. Let's tap out of Edit mode with that, and let's go ahead and hit the forward slash key, bring everything back. And the material has automatically been applied to all these shelves here, so that's cool. I'm not sure why that one there hasn't been applied, but I think, in this case, what I'll do is just go ahead and delete that shelf, grab this one, and press Shift D, and Z, and bring a copy up to approximately the middle, something like that. There we go. Okay, let's go ahead and grab this one and this one. And is that the only ones? I think it is. Let's go ahead and isolate those next. And let's go ahead and tap into Edit mode with it, and let's press A, and then U, and let's go ahead and do a smart UV project and go ahead and unwrap. And now let's go ahead and find our nice oak material. Here it is fine oak. And let's go ahead and apply that. And there we go. That's cool. So I'm not worried at all about this side because we'll never see it. It's just this side, so I'm just going to grab this one here, find our UV map, and then go ahead and press, 90, Enter. And that's gone hard now and just spun the grain direction round on that. So also, maybe this one here. Let's find this one on the UV map here we go, and let's press, 90, Enter. And how's that looking? That's looking fine now. So there we go. We've got a material now applied to our wine rack. Let's hit the forward slash key and bring everything back and see how that looks, and let's tap out of Edit mode. And there we go. That's cool. Okay, now let's go ahead to these shelves over here. Maybe let's just grab the bottom shelf, and maybe let's just hit the forward slash key to isolate it. Let's tap into Edit mode, press A, and then U, and let's go ahead and do a smart UV project and go ahead and unwrap. And then let's go ahead then and find our oak material, fine oak and go ahead and apply it. So I think the directions fine, but I think I just want to just maybe just grab this UV map here and just go ahead and move it around because we have this line running up the center, and I'm not keen on that, which again, that's the tiling from the procedural texture. So let's try actually scaling this down, so let's press S and Y, and just scale it this way a little bit. Then let's press S and X. And let's just try stretching that a little bit like that. And see now if we move the X axis, if we can lose that repeat tiling, move that over a little bit, and there we go. That's it, fine. Let's select this front edge here, and let's go ahead and rotate that 90 degrees. Let's press r90, Enter. And let's have a look at this one and see how this one looks. And I think, in this case, that one, I'll be fine. Okay, so there we go. There's a oak material applied to our shelf. Let's go ahead and tap out of Edit mode. Let's hit the forward slash and let's bring everything back. And for some reason, that's not actually been applied to the others. So I think what I'm going to do in this case is just grab these shelves. And we'll hit the forward slash to isolate those. And let's press one to get in the orthographic view. And let's go ahead and grab the bottom shelf here. And let's go ahead and press Shift D and Z and bring a copy up now to here like this and just drop it in here. And let's do that again. Let's press Shift D and Z and bring a copy up like this. And now let's do that again, Shift D and Z and bring a copy up like this. There we go. That's cool. Now we can select the white copies, if you can see, when I can see there and delete it. And again, I haven't been super accurate in positioning these ones because I simply just wanted to be able to see the other ones. I'll go ahead and delete that. And I'll grab this one, too, and go ahead and delete that. And there we go. That's cool. Let's hit the forward slash key now, and let's have a look at that and see how it looks. And yeah, that's looking good now. We're getting some nice details in on this. Okay, so in this lecture, we've applied all our brass materials to our switches and our handles, and we've gone ahead and put this nice oak material here on our shelves and our wine rack. So I think in the next lecture, let's go ahead and do a bit more. Let's do maybe the tap and the basin. And let's go ahead and apply our material as well to the inside of our ada cabinet here. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 68. Lecture 67 Texture The Small Stuff: Hello, and welcome now to Lecture 68. And in this lecture, let's carry on just applying textures to some of the smaller objects in our scene. So let's go ahead and do that. But I think, first of all, it's getting a little dark, so I think I want to increase the light. So I'm going to go from object here to world, and our strength currently on our background is 1.4. Just for the moment, I'm going to go ahead and increase that just to bring in some more natural light. Maybe take that up to maybe even there we go. About 4.6 is about where I want. Let's have a quick look outside and see how that looks. See if that's just too bright for our finish render. And it's something we could actually consider leaving it there. I guess we'll sort of look at that later on, but for the moment, I'm going to leave it at a sort of 4.5 MAC. Okay, so let's go back to object now. And let's go ahead first, and let's do the interior of our larder cabinet. So I'm just going to press Shift B, and I'm just going to select these doors here. So we just sort of zoom in on those doors like that. And I'm going to grab both of these doors. I'm just going to press H to hide them. And now we've got the interior of our cabinet. Okay, we've got a back panel, I think. Oh, no, we need to put in a back panel, actually. We still don't have a back panel in this, so we'll do that as well. So first of all, let's go ahead and texture this. Maybe let's just grab this bottom panel here first. And let's fix the rotation and scale. So let's press Control A and apply rotation and scale. And now let's go ahead and tap into Edit mode with it, and let's press A, and then U, and let's go ahead and do a smart UV project. Make sure we've got an island margin and go ahead and unwrap. Okay, let's go ahead and grab our finished oak material, and there it is fine oak. I keep on thinking finished oak. It's fine oak, and there we go. Okay, let's have a look at that and it looks like the grain direction is incorrect, so let's go ahead and grab the actual island in our UV map, and let's just go ahead and rotate that. Let's press r90, Enter. And now let's have a look at that and see how that looks. And am I happy with that? I think I'm happy with that. I'll leave that just like that. So I'll grab the face now, and I'll grab the island here, and I'll hit, 90, enter on that. And there we go, that's cool. I'll tap out of Edim with that, and we're done with that one. Okay, let's grab the top one. And let's go ahead and do the same thing now. Grab this, let's fix the scale. So let's press Control A and apply rotation and scale, tap into Edit mode. A for, U and smart UV project and go ahead and unwrap. Let's apply our oak again, and there we go, that's cool. Let's have a look at the direction of the grain. I'm not happy with that, so I'll grab that one, select it over here on the UV map, and I'll hit 90, enter, and there we go. That's cool. Let's go ahead and do this frontage now as well. Let's grab this. Let's press R, nine, zero, enter, and maybe we'll just re center this in our map like this. All right, so let's tap out of Edit mode with that one and see if we're happy, and I think we are. So let's go ahead and select maybe a side. Now, let's select this one. The scale's good this time, so let's just tap into Edit mode. Let's press A, and then U. Let's do a smart UV project, and let's go ahead and unwrap that one. Okay, let's go ahead now and apply our fine oak texture. And how does that look? And again, I need to change the direction of the grain on that, so I'll select that one. Come over to our UV map, select this and I'll press R, 90, Enter. Let's just click somewhere else so we can see that now, and that's fine with me. Okay, let's select this face. And now let's select it over on the UV map. I'll press R, 90 enter, and maybe just bring this back in somewhere into our UV map, and there we go. And that's looking good to me. So it looks like those ones were actually linked, so the pattern is shared, but I guess we still need to do the UV mapping on this one. So let's go ahead and select this one. Now I tap into Edit mode, select this face. And let's go ahead and rotate that. Let's press r90, Enter. And let's go ahead and select this face here now. And this one has actually already been done. All right. Oh, I know why that was actually like that now because we did do an LSD on this one. This face here has already been corrected, the face against the wall, but we didn't correct the other side. That's why we needed to carry on and correct that face. That makes sense. Okay, let's tap out of Edit mode with that one. And now, baby, let's select this one here and let's fix it. So let's press Control A, and let's apply the rotation and scale. Let's tap into Edit mode. Let's press A and then U, and let's do a smart UV project. And then let's go ahead and nor Okay, let's grab our material, fine oak, and there we go. That's cool. So it looks like we need to grab this face here and then we'll grab it in our UV map. Sorry, that was my phone telling me I should go to bed. Anyway, back on this. So let's grab the island here on our UV map and let's press r90 Enter. Let's see what that looks like, and that looks good to me. Let's select this face, as well. Let's grab it here. Let's press r90 Enter. And let's go ahead and put that somewhere like that. Okay, let's tap out of edit mode with that one now and see how that looks. And yeah, that looks fine to me. So let's grab maybe this one now. And the scale is out, so let's fix that. Let's press Control A and apply rotation and scale. Let's tap into Edit mode with it. Let's press A, and then U, and let's go ahead and do a smart UV project and unwrap it. And now let's go ahead and find our fine oak material. Let's go ahead and just select somewhere else so we can see the wood grain direction. It looks good on the top, actually, but the side there is out. So let's just grab this, and let's press, nine, zero, Enter. Let's pull this back more into the UV map, and there we go. That's good. Okay, so let's do this one here now. Let's select this one. Let's fix this one, Control A, apply rotation and scale, tap into Edi mode, A, and let's go ahead and smart U V project, and let's go ahead and unwrap. Alright, let's go ahead and apply our material. And there we go. So this one, for some reason, we need to adjust it a little bit. So I'll just grab this face here, and I'll go ahead and rotate, so I'll press, 90 Enter, and I'll just click somewhere else so we can see it, and that's fine. Grab this one now, select it, 90 Enter. And there we go. So let's tap out of head and mode with that one. And we've just got the last one here to do now, so let's grab this. And I think I'm just going to go ahead and do it and not sort of talk over the lecture for a moment because I think we all kind of know the project now, so let's go ahead and do this one on our own. So let's press. I'm so used to talking. I'm gonna try my best to be quiet for a moment. Okay, I'm back. Did you miss me? Okay. Sorry about that. Silly jokes. Alright, so what are we going to do now? Let's go ahead and do. Let's put a backing panel in this because at the moment, we're actually seeing the wall behind, which is not really what we want. We either want this to be potentially What could either make it a mirror surface or we could go ahead and make this timber. I think I'm gonna I'm going to make this a mirrored surface. I think what I need to do is let's go back into just model mode for a moment and maybe I'll just go back to layout here because I do prefer the clay stuff. I think what I've got selected there. I'm going to ahead and press Control Shift S, sorry, and cursor to the selected. I'm going to bring in a plane, so let's press Shift A and mesh, and let's go ahead and bring in a plane. Alright, let's rotate that on the X axis. Let's press RX, 90, Enter. And let's go ahead and scale that down in the X axis, let's press S&X and just go ahead and bring this down now until it's just within the back panel. So X and how is that? Is that looking better? Maybe a tiny bit more. X, and bring it down tiny bit more. There we go. And let's scale it down the z. So S and z and bring this down this way now like this and maybe just pull this down now so it's in position nicely like that. Okay, let's pull it forward slightly, so we know that we have it in our cabinet and just position that slightly off the back wall like that. And there we go. That's cool. Okay, so we can go ahead now and go back into our full rendered mode and make sure that we're in shader editor tab here as well, and go back into full rendered mode here as well. Alright, so I don't think we need to UV map a single plane. So let's go ahead and find now our mirror, and here we go. I think that's gonna look pretty good in there, actually. I think I quite like that. When we got jars and things like that in there, so making some reflections. I think that's gonna look quite busy. Okay, so that's cool. Let's go ahead now and press ltH to bring back our hidden doors, and there we go. That's done. Okay, so what do we want to do next? I think the next one we can tackle maybe, is the basin here. Let's go ahead and do that. So let's select it. And the scales all good. So let's go ahead and tap into Edit mode with it. I'll press A, and then U, and let's go ahead and do a smart UV project and go ahead and unwrap. Okay, let's create a new material. Let's select it, and let's call it a basin. And let's select our principal BSDF. Come over to our node wrangul and add principal setup, go to our textures. And I think there is a basin here somewhere. There it is right there. And I'll press A to select A and add principal texture setup. Okay, let's tap out of Edit mode so we can see that and see how it looks. And I think overall, it looks pretty good, but I think I'm just going to raise the IOR to get a bit of reflection in that. Maybe take it to around two and see how that looks. And yeah, I think that looks fine now. Okay, so now we can do maybe a tap here. Let's have a look at this. And at the moment, these are all separate components, and that's not really something I wanted. So I think what I'm going to do is maybe select Everything. And I'm going to go ahead and press Control J and join those into one. Alright, now that I've done that, let's go ahead and add a material to this. So let's go ahead and select this. And let's find our brass. Bass handles, there we go. And let's see what that looks like. And that's cool. I think I'm happy with that. But I did want these little bits here to be like this ceramic material. So let's also do that. So let's tap into Edit mode with it. And I'm just going to press Shift B and just re center on our taps. There we go. And I just want to select this center face here of these two, and I'm going to hold Control and Press Plus and expand on the selection until we get sort of down to the bottom of those little handle things, there we go. Let's come over here to material properties tap, and let's hit the little plus icon here. And let's find our basin material. And there it is at the top. And then let's go ahead and assign it to the highlighted material. Okay, let's tap out of Eddy mode for that and see how it looks. And yeah, I think that looks good. So we just don't have a single material on that. Now, we have a couple. Okay, we have a basin done, we have our tap done, and we have the interior of our larder done. So where shall we go now? I think one that I would like to do maybe is these vents here. So let's go ahead and select this vent here. Let's look at the scale, and it's out, so let's press Control A. And apply rotation and scale. And let's go ahead and tap into Edo mode with that and let's press A and then U, and let's go ahead and do a smart UV project, and let's go ahead and unwrap that. Okay, we don't have a material for this yet unless we wanted to make it brass, which I think I want to make this more of a metallic chromi material. Let's click on and let's call this maybe chrome, something like that. There we go. Well, we could have called it polished stainless or anything, really. Let's select our principal BSDF add principal setup. And let's go back to this, and let's find our Chrome. Here we are oven Chrome. Let's select that. Let's press A, and let's go and add principal texture setup. Okay, let's tap out of Edit mode with that, and there we go, that cool. So what we could do now is maybe just go ahead and delete this one and grab this one here, and we could press Alt D and X and bring a copy over now to the opposite side like this. And there we go. That's cool. Now we have our vents as well chromed. Alright, so I was planning to do sort of lamps and a few more in this lecture, but I think the interior of the larder cabinet took a little bit longer than I thought. But that's okay. We're doing good. All right. Thanks very much. And I'll see you soon in the next one. Bye bye for now. 69. Lecture 68 Texturing The Lamps: Hello, and welcome now to Lecture 69. And in this lecture, let's go ahead and sort of carry on texturing the smaller items. So let's go ahead and do our sort of our lamps, here, our three lamps. And let's go ahead and do our spotlights here on our Coker hood, and maybe let's go ahead and do this little nice little side table. Let's do that as well. Alright, so I think, first of all, what should we do first? Let's have a look at our lamps first. So let's select maybe our lamp here. Let's look at the scale, and it's all good. So let's tap into Edit mode. And let's press A to select O and press U, and let's do a smart UV project. Make sure you have an el margin and go ahead and unwrap. And let's have a look at that and see how it's looking. And we've got quite a dense UV map, but it's all there and looking good. So let's just hit the little drop down here, and let's find our brass material, brass handles, and there we go. That's cool. Let's tap out of Edit Mode, no so we can see what we've got. And it's a nice color, but I think this sort of aging patina, it's just the scale is all wrong on these lamps, but I can't adjust the scale on the brass handles because that's going to throw everything else out. So I need to duplicate this material. So I'll just come over to this little one here and go ahead and duplicate this material. So now we've got brass handles 01. Now we can go ahead and adjust the scale on this without ruining the other brass objects. I'll just drag down on the scale to select all three. And let's just adjust this to get a slightly different sort of surface on the lamps. And that's better. That's more what I want. So now that we've done that, we can go ahead and do the chain. So let's go ahead and select that. And let's apply our brass material to that, as well. Brass handles 01, and there we go. And also this one here, too. Let's go ahead and apply our brass handle 01 material to that. And there we go. That's the lamp's nearly done. So we just need to do the flexes now, sort of the little wire that we've put in. So let's grab that. And let's just go ahead and find. It's the can either use the black plastic, but I'm thinking more the sort of the rubber material here is glass rubber. Let's click on that. And there we go. That's cool. So that's our lamp stand, and they're looking good now, I think. That's absolutely fine. So the next one we want to do is these little ones here. So let's just go ahead and select one of these, maybe. And let's go ahead and isolate that so we can see it. And let's have a look at the scale on that, and the scale's wrong, so let's press Control way. And let's go ahead and apply rotation, let's go. Okay, let's tap into Edit mode. Let's press A. And let's press U, and let's go ahead and do a smart UV project and go ahead and unwrap. And there we go. That's cool. So first of all, we can go ahead and apply the brass material to this. Let's go ahead and do that. So I'll go for Basso one, and there, that's cool and tap out of Edit mode for a moment and see how that looks. I think it's fine. I think in this sort of very intense light we've got at the moment, it's looking a little weird, but I think it'll be fine. So let's tap back into Eda mode with it now, and let's just zoom into the middle and let's hold down. Let's select one of these surfaces, then hold control, and just go around selecting the rest like that. Once we've done that, let's go ahead and hit Control plus and expand on our selection until we've got to about there like that. Now that we've done that, let's come over to the material properties here, and let's hit the plus key to create a new material on our lamps. And let's find the glass material. That's what I want this time. Door glass. There we go. Let's go ahead and select that. And with that done, let's go ahead and assign it. All right. That's cool. Let's tap out of Edit mode with that, and that's our lamp now complete. So let's take that back. So let's hit the forward slash, and there we go. That's cool. So in this case, we could actually just go ahead and grab this one and delete it. And we can grab this one now, and we could go ahead maybe let's set the origin to the object. And let's go ahead and take that over in the X axis now. So let's press Shift and X and go ahead and take that over now to this side now, like at that. And there we go. That's cool. That's looking good. So we've got the lamps done there now, and we've got these lamps done, so let's go ahead and do our little table. Let's do that next. So let's grab the top, and I've actually got a new material for that. So let's look at the scale, and the scale's fine. So let's tap into Edit mode, and let's press A, and then U, and let's go ahead and do a smart UV project. And let's go ahead and unwrap that. Okay, so let's create a new material, and let's call this the table or tabletop. Let's do that. Whoops. And let's go ahead and click Entert and there we go. Let's find our principal BSDF. And let's add principle setup. Let's go to our textures. Here's our table. Now, let's press A to select all and add principal texture setup. Okay, let's have a look at that. Let's maybe tap out of Edit mode for a moment, and let's have a look at the scale. Let's just select all three and just try increasing the scale slightly to reduce the size of our wood grain. We can if we want to also rotate that, but I don't think I'm too worried about that. I think it's fine. I'm going to keep that direction as it is. But if we can just well, first of all, let's sort the edge out next. Let's tap into Edit mode, and let's hold Alt and select this. And let's find our UV map. There it is. I'll select these items. And I'm going to press r90, Enter and go ahead and take that into the center somewhere like that. And yeah, that's fine. That's looking fine, now. Let's tap out of Edit mode with it. Let's have a look at our material for a moment and see if there's any changes we want to make. And I think let's go ahead and just up the IOR to make it slightly more reflective, something like that. But also, let's come down here to where you see the coat and click on this. And let's add some weight to this, which means let's add the effect. Let's increase the effect of having It's like a layer of varnish, basically, this one. So let's go ahead and put some of that on now like that. Let's increase the roughness because I don't want sort of gloss. I want a sheen again, and there we go. And let's increase the IOR a bit, too, to get some reflectiveness in this and how's that? I think that's absolutely fine. I'll leave that just like that. So let's select this one now, and let's go ahead and add our cabinet material. There we go. And let's select this one. Let's look at the scale. It's all good. So let's tap into edit mode with this. And shall we let's just, first of all, let's go ahead and apply the cabinet material to it, there we go. And I'm thinking I want to turn this area into wood grain. So I'm going to hold Alt and just select this area like this. Now, come over to the material data properties, and let's go ahead and add an extra material to this. Let's find our tabletop. So if it's not within this, it's lower down. So just scroll until you find it, and there it is. And now that we've done that, let's go ahead and assign. Okay, that's cool. So first of all, let's go ahead and rotate this. So let's press Alt and select all of this. Let's grab this like this now, and let's do a rotation. So let's press r90, Enter. And let's have a look at what we've got. I think I want to scale up the material, but obviously, I can't because that's going to affect our nice looking tabletop. So I think I need to actually just create a new material for this now. So I'll hit the little duplicate material, and now I can go to the scale. Grab this. And we can just go ahead and reduce the scale now to get a bit more grain appearing now in our base. That's too much. Let's try there, something like that. Let's tap out of edit mode. And there we go. I think that's looking good. Maybe maybe that's still too much. I'll just grab this and just take this up a little bit. Maybe there that's looking good. In fact, yeah, that is looking good, now. Okay, so that's a nice little side table done, and that's looking good. We've got all our lamps done. So I think that's the end of the kind of the small stuff. So in the next lecture, let's go ahead and make a start on all our sort of beams and stuff. And that'll be another really bold thing to do. Again, that's going to really make our scene pop. So yeah, let's do that in the next lecture. Alright, thanks very much. Let's go ahead and do a save. Let's press Control. And I'll see you in the next one. Thanks very much. Bye bye for now. 70. Lecture 69 The Beams & columns Part 1: Hello, and welcome now to Lecture 70. And in this lecture, let's go ahead and apply a texture to our beams and our columns here. And I think this may take a couple of lectures because we need to sort of concentrate on the orientation of our grain on our beams. So yeah, let's go ahead and make a start with that. So I think let's select the one right in front of us, and let's look at the rotation of the scale, and that's out. So let's press Control A, and apply rotation and scale. Let's tap into Enomode and let's press A, and let's press and let's go ahead and do a smart UV project. And let's make sure we've got an island margin, something like that. Okay, go ahead and unwrap. And let's have a look at this and see how it looks. And, I think that'll be okay. Okay, so let's go ahead and make a material for this. So let's click on Let's call this the beams and columns. I'll click answer on that. There we go. Okay. Hey, so now we've got our procedural texture. Let's just select it. And let's go over to add principle setup. Let's go find our textures. Here's our oak beam file here. So let's grab this. Let's press A, and let's go ahead and add principal texture setup. And there we go. That's cool. So, yeah, that's not right, though, is it? So I think the first thing we can do is go ahead and press A, grab all of our UV map, and let's just select it like this. And let's press r90, Enter. And there we go, Let's have a look at that. Looking slightly better. Let's go over to our map now, and let's just try moving it up in the Y and see if that works with the grain on this because I need to shorten it in this direction. So let's see if that's on the Y. And no, it looks like it's on the X. Let's try that. And there we go. That's looking better now. Now we've got much more looking realistic knots on that. There we go. That's cool. That's good. We can also try just selecting all of them now and just try just gently adjusting that scale and see what we get. I'll at mode on that. And there we go. That's cool. I think I'm happy with that. So you can always take a few minutes just to sort of set these and get them to a point where you're really happy with these. I'm sort of trying to balance all the time, trying to keep the lectures reasonably short. So I could easily spend a couple more minutes on each of these, setting up the scale and the rotation and getting them absolutely perfect. But you please, please go ahead and do that. But I'm also always just trying to very conscious that I'm not making the lectures. Too long. So I may well, even in my own time between lectures, just come back and just work a little bit on the maps. And yeah, you can go ahead and do the same and just find that perfect spot where everything works out. In fact, even just by doing that, just moving that up to 3.2, that looks a lot better. I'm going to go ahead and leave that one there. I'm quite pleased with that one now. Okay, so let's go ahead and select this one here now. And let's go ahead and fix the rotation and scale. So let's press Control A, and apply rotation and scale, tap into Eta Mode, press A and U, and let's go ahead and do a smart UV project and unwrap. Okay, so let's go ahead and find our beam material, and here it is beams and columns. And I think I think I'm going to actually create a copy of this so that I can manipulate the scale here on the mapping because I'm prepared to make a few copies for this because it's quite a prominent thing within our kitchen. So let's go ahead and add the Plaske here, and now we have a copy of our beams and columns material. And let's go ahead and rotate our map. Let's press r90, Enter. Let's have a look at that and see how it looks. I think we could actually just again just try playing around with this, and let's have a look, move this down in the X, maybe until we get to a point where this is looking. We could even try rotating this in the z axis and just see if we get a slightly differing effect. And there we go, how's that? Got some nice sort of diagonal splits on that, which look pretty cool. And let's have our knots in detail. Let's see if the scale in those lot knots looks pretty good. We could try just adjusting the Y and the X axis just to try and get them slightly more realistic. And there we go, now those knots are compressing and we're getting something nice on the scale. I'll just try try taking some of that rotation back. And maybe something like that. That's looking good. I'm liking that. There we go. I'll leave that one now just like that. Okay, so now let's do this column here in the corner. Let's maybe grab this one here. And again, let's fix the scale. Let's press Control A, and apply rotation and scale, and we'll tap into Eda mode, and we'll press A, and then we'll go ahead and press U. We'll go ahead and do a smart UV project and go ahead and wrap. Okay, let's find our beam material. We can use one or two. It's fine. So I think I'll go back to one in this case, and I'll grab the UV map, and I'll press, 90, Enter. Let's have a look at that. Okay, so I can't adjust the scale on the map without adjusting the scale on the other columns, so I'm just going to press A, and I'm going to select all the UV map, and I'm just going to go ahead and try scaling that up in X. Maybe bring it this way a little bit. And let's have a look at that. And that's looking pretty good, actually. Yeah, those knots are looking good. I mean, I haven't got any sort of splits in this one, but there's no law to say or no rule to say all of them would have splits, so that's okay. I think I'll leave that one just like that, actually. I think that's fine. Okay, so let's do the one on the opposite side now. Okay, let's select this and let's fix the scale. Let's tap into Edi mode with it, and let's press A, and then U, and let's go ahead and do Smart UV project and go ahead and unwrap. Okay, this time, I'm going to use the beams column 01. Straightaway, let's go ahead and select our UV map, and let's go ahead and rotate that 90 degrees. And let's see how that looks. All right, let's press A, and let's grab all of it, and let's select it right here. And let's try scaling that down in the X. Let's write S and X, and just try taking this scaling this up slightly in the X, actually, just to try and get that looking something like that. Now let's try scaling it in the Y and just see what we get. Let's go the other way with that and see if that helps. And there we go. That's looking pretty cool now, like that. Let's have a look at that. And there we go, I think I'll just tap out of Edit mode and see what that looks like. And I think I like that. I'm pleased with that result. Okay, so that's got sort of the columns done now. So let's have a look at this sort of the main beam coming along here. Let's tap into Edimde with this one. The scale is good. So sorry, let's tap into Edi mode. Let's press A and then U, and let's go ahead and do a Smart UV project, then go ahead and unwrap. Okay, so let's go ahead and grab our beam here, so I'll grab beams and columns. And I think this time, I'm going to create a new copy again, so I'll click on that. And I'll go ahead and grab our UV map, and I'll press r90, enter, and I'll go ahead and bring that to the middle like this. Okay, let's have a look at the scale here. In fact, I'll go ahead and select all three, and I'll just go ahead and put one in those and click Enter, just to bring those back to a sort of a default point. Let's have a look at this now, let's go ahead and select all three and just move them up a little bit. See what we get. And now maybe in the X, let's try moving it this way. And the Y, let's try this. And there we go. Maybe we leave that. Let's just have a good look at that and see how it looks. And yeah, I think I'm pleased with that. I like all these splits, and I like that dead center knot there like that. I'm going to tap out of Edmode with that and see how it looks. And yeah, I think I'm pleased with that. That's looking good. Okay, let's do the same here now maybe with this one. Okay, let's check the scale, and the scale's good. Let's tap into Eddy mode with it. Let's press A and then U, and let's do a smart UV project. And let's go ahead and add a material. So this time, I think I'll add beams column 02. Okay, let's grab our UV map here, and let's have a look at this. Let's just try scaling the whole thing and see what we get. And we need to rotate that actually. Let's press r90, Enter. And let's try scaling it again now. And just find that sweet spot where that material starts to look good. There we go. How's that looking? That's looking pretty good, actually. I think I'm liking that knot, just there. So I think I'll tap out of Ed Ood and have a look at that. And yeah, I'm pleased with that. Okay, let's do this one. Let's tap into Edit mode with this one. And let's press A, and then U, and let's go ahead and do a smart UV project and click wrap. Let's grab our materials. So I think I'll just beams and columns this time. And let's go ahead and grab our UV map, and let's rotate that. Let's press r90 enter. And again, let's go ahead and scale that and just find that sweet spot again where everything starts to look good. And that's too big, I'll bring that back again. I think I'll try just moving the map and see what we get. Maybe try taking it up. How's that looking? Okay, let's try just scaling that down in the Y a little. Let's press S and Y and just try widening this a little bit, and maybe try taking it over a bit again now. And there we go. That's cool. I'm liking that. Okay, I'll tap out of Edi mode with that, and there we go. Yeah, I think that's looking good. So now let's do this sort of one here, this truss here. So let's look at the scale and the scales out, so let's press Control A and apply rotation and scale. I'll tap into Edit mode. Let's press A, and then U, and let's go ahead and do the smart EV project and click on Rap. Okay, let's find our material. Let's find maybe beams 02. But then straightaway, let's go ahead and make a new copy. Okay, so let's just select our UV map, and let's just grab it. And let's try rotating this now until we get to a point where the grain is running sort of in line with the angle of the beam, which should be looking at. It's something like that, I'd say. And there we go. That's actually looking really cool straight off the mark. I think I'm going to go ahead and tap out of Eddy mode. And yeah, I'm really pleased with that one. Actually. That looks really good. So so let's go ahead and tap into this one now, and the scale's good on this one. So let's just tap into Edi mode. Let's put A and then U, and let's go ahead and do a smart UV project and go ahead and unwrap. Okay, so let's add our beam material. So beam column 03. Let's find our UV map here. And again, let's try rotating that until it all starts to make sense. Maybe take this up a little bit, see if we get a slightly different beam, and there we go. That's cool. I'll tap out diode with that. Those two are really quite easy. Okay, so let's have just a look at this and see how it's looking. And yeah, I mean, that's made a huge difference to our kitchen. So I think let's go ahead and do some of these low level beams now, maybe. Let's do this one here. So let's look at the scale. It's all good. So let's tap in Edi mode. Let's press A and then U, and let's do a smart UV project. Let's add one of these materials. So maybe beam column 03. And let's go ahead and grab our UV map. And let's just try rotating that now and see if we get something looking good. Okay, let's see how that looks. Let's tap out of Edi mode. And yeah, I think I'll leave that just like that. Okay, maybe let's try doing this one. No. Let's grab this one here. Check the scale. It's all good. We'll tap into Edy mode, A, and then U and prep. And there we go. Let's add our material. And now let's grab our UV map, and let's try rotating that. Try moving it around just so we get a slightly different look, and there we go well tap out of di mode with that. Okay, so I think these beams are looking really good now. But like I said before, I encourage you, if you wish, just to spend longer than we did just now, having a look at the orientation, the wood grain, just getting it looking really great. Alright. Thanks very much. And I'll see you in the next lecture. Bye bye for now. 71. Lecture 70 Beams & Columns Part 2: Hello, and welcome now to Lecture 71. And let's just continue where we left off with our beams. Let's carry on with those. So, I think we could do next maybe these two on this side. So let's grab this one. Let's check the scale. That's out. Let's press Control A, apply rotation and scale, tap into Eda mode, press A, then U, and do unwrap. Okay, let's find beam materials. So if we go beam column 03, and let's go ahead and grab our UV maps. Let's do a rotate 90 degrees, enter, and let's go take a look at that. And I think maybe the scales are a little bit out on that, so I'll press A, select all, grab it. And let's just try scaling it in the Y and see if that works. And that's slightly better. I'll just pull it down a little bit now and pull it in a little bit. And it looks to me like that's actually out a bit. It's sort of not quite the right shape. So I'll press S and Y and just try compressing those knots. There we go. That's better. Maybe just pull it up again. Now pubs. And there we go. That's cool. Okay, let's tap out of Ed mode with that one. And let's do the same now with this one here. Let's select this one here, and let's look at the scale that's out. So Control A, apply rotation and scale, tap into Ed mode A, U, and then go ahead and do a smart UV project. All right, let's find our material again. And this time I'll go to columns 02, and I'll grab the map, and I'll just rotate that 90 degrees and let's have a look at that. And again, I think the scale slightly out press A, and I'll bring that more into the middle like this and try just scaling it up in the Y. Until those knots start to look pretty good. Let's have a look at that. Let's press A again. Maybe take that up a little bit more to something like that. And there we go, that's looking good to me. That's looking really good. Okay, so that's all those beams done. So now maybe let's have a look at doing this one here. So the scale is good. So let's just press let's tap into mode and press A and then U and do a smart UV project. And let's go ahead and grab a material. Oak beams, whichever you want, really, beams column 02, maybe. And let's try rotating that 90 degrees, 90 enter. And let's maybe try scaling that up in the Y. So S and Y and just see what effect we get with that. And let's just zoom in a little bit. Now let's try scaling it in the X. Let's write S and X and just try scaling this around again now. Let's go the other way. Okay, let's have a look at that. Those knots are starting to look about right. Let's have a look on the opposite side of that one. And I think we can go some more on that. I'm just going to press S and just scale the whole thing up, I think. Or is it down? Let's try that. See, that's looking pretty cool now. Let's have a look at that from a distance, see how that looks. No, I'm still not liking that one. I'll press A. And I think what I'll do with this one actually is let's just try making a duplicate of it. Let's grab our scale here on our mapping node, and let's go ahead and press zero. Sorry, let's press one on that and click Enter. And now let's just grab it all and just try scaling this up and see if we get something that we like. Okay, let's try maybe just in the z in the Y. Sorry. Let's try scaling this up and see what we get. Try going the other way, see if that helps. And now we're starting to get something a bit more realistic. There we go. That's looking good. You just have to play around with the maps until you get the sort of the desired result. So maybe I'll just try playing that roono and the X a little bit, and there we go. Now we've got some reasonably circular looking knots. I think I'm happy with that. Okay, let's select this one now. And let's check the scale on that it's wrong, so let's press Control A and apply rotation and scale. And let's tap into Edyode, we'll press A and then U and do a smart UV project. And let's grab a material. Let's grab maybe 04 here. And straightaway, let's go to our UV map, grab this, and let's press R and just rotate that until the grain is looking about right. Let's try something like that. And, yeah, that's looking pretty good. I think I'm happy with that just like that. Not all the knots and all the beams need to be sort of large. I think that's looking good. Okay, let's tap out of Edit mode with that one, and let's select this one. And the scale is good, so it's tap in Edo mode and we'll press A, then U and do a smart UV project. We'll go ahead and unwrap, and let's just grab a material. I think I'll grab 02. Let's grab our UV maps now, and let's just press R and rotate that until we get the sort of the grain direction looking about right, which is something about there like that. Let's have a look at that. And there we go. That's cool. Well, that was easy. Okay, so we just got this other side here to do now, but these beams are looking really cool. Let's come to this side now and just repeat this process. So let's grab this one here now. And we'll sort of find the right angle on this. There we go. That's cool. And let's look at the scale. The scale is good, so let's tap in Edomode and let's press A and then U, and let's go ahead and unwrap. Let's grab a material. And let's grab our UV map and then rotate it 90 degrees. So, nine, zero, enter. Let's pull that closer into the middle like this. And let's just take a look at that and see if there's anything we can do with it. And let's press A for O, and let's try scaling that up. And let's have a look at that and see how that looks. And let's press A, selector, and we'll just try scaling it down in the X. And there we go, how's that? Let's tap out mode with that one. And I think I'll scale it up slightly some more, so I'll tap back into Edit mode with it, and I'll press A. And let's try scaling it up on the Y. Let's press S and Y and just try scaling that grain up slightly more. And let's try moving it around and see what we get. Okay, let's try scaling it up on the X. Let's press S and X and just reduce the scale, in fact, just to see what we can get on this B. And let's have a look at that. Let's tap out of Edit mode with it. Whoops. And let's try just scaling it up again. So I'll tap back into Edi mode with it, press A, and then I'll press S and Y and just try scaling this up or down, sorry, to try and get that looking slightly better. There we go. That's actually pretty good. Now, I'll tap out Edit mode with that. And yeah, I think I'm happy with that one. Okay, so let's do this one here now. And let's check the scale. That's all good. So let's tap into Edi mode and press A and then U, and let's do a smart UV project. And let's grab ourselves in oak beam material, and let's go ahead and rotate that. And let's have a look at that and see how it looks. I know if I can do some scaling up, I'll just press A again, grab it all, and actually just scale it down on the UV map. Maybe just move this around a little bit until we get a nice looking beam. And there we go. I'll tap out of Edo mode with that one. And we just got this last one to do here now. Let's grab this one here. And let's look at the scale, and that's out. Let's press Control A, apply rotation and scale, tap into Edy mode, press A, and then U and do an unwrap. And for the last time, let's grab our material, maybe four. Let's grab our UV map here, rotate that until that's lining through. And let's go ahead and press S and scale that down some. Maybe try moving it around. There we go and pull it around some more and have a look at that. And there we go with that I'll be fine. Okay, so that's our beams all done. I hope you'll agree that's made a huge difference now to our project. So the only thing I did notice, actually, which is worth changing is we have a little bit of a gap between the ceiling and all our sort of trusses, because it looks like there's a little bit too much of a gap there. So I think what I'm going to do in this case is I'm going to go ahead and hide the walls. We don't need those, I think. And maybe just grab this one now, and we also need to grab our skylight, so let's go ahead and grab those. And we can grab this one, too, and the roof and just grab that little seal inside there. And this little seal here. There we go. Maybe, let's just press one to see this from the front, and let's zoom in a little bit. And let's go ahead and take that down a little bit to something like that. Okay, let's have a look at that now and see how that looks. And yeah, I'd say that's looking a lot better now. Okay, let's bring back the walls again. And let's see how we're doing. Yeah, that's made a huge difference to our project, these last couple of lectures. These beams are looking great. So I think in the next lecture, what we'll go ahead and do is apply the materials to our oven, and let's also have a look at things like the curtains. We can do those. And we can also look at applying some materials to the outside. That might be a bit much for one lecture, but we'll just see how we go. Alright, thanks very much. And I'll see you in the next one. Bye bye for now. 72. Lecture 71 The Oven: Oh oh, welcome now to Lecture 72. And I think in this lecture, let's go ahead and apply the textures to our nice looking oven here. The moment it's looking a little anemic, so we need to sort of do something with this. I think I said in the last lecture that we'll do more than that. We'll do the curtains, and maybe we'll texture outside. And this is one of my sort of little things that I do. I overstretch myself. I always think, Oh, I'll do all this and I'll do all this. And it's too much. So let's just go ahead in this lecture and concentrate on the oven and we'll get that done. Okay, so where do we start? I think we need a better view of this oven, but I don't want to just isolate the oven because the light outside is quite strong. I like to see it against this brickwork. So I think let's just go ahead and hide our kitchen island here. So let's go ahead and sort of compress our windows, walls and windows and doors file. Let's open up our cabinets file, and let's go ahead and hide the island. Let's go ahead and hide our worktops as well. And there we go. There is a few little items left, but I'm not going to worry about those. They're not really in the way. So I'll press Shift B. I'm just going to re center on the oven. There we go. That's better. And where should we start with this? I think let's go ahead and start with the main body of the oven. Let's do that first, so we'll select that. And let's go ahead and tap into Ed mode without and we operate a press A, and then U, and let's go ahead and do a Smart UV project. Make sure you get an aisle and margin and then go ahead and unwrap. Let's go ahead and create a new material. And let's call this the oven body. Let's call it Let's select our principal BSDF and let's add a principal setup. Let's go to our textures. Oven main body, there we go. And let's press A, and let's go ahead and select that. Let's tap out of Edit mode. Wow, that's very blue, isn't it? That's very blue. I'm not sure how else to define that, but very blue. Um I think for now, I will leave that material where it is, but I think we may change that. I'm not in love with that as a material. It's not doing much for me. But for now, let's go ahead and leave it. So let's select this door here now, and let's go ahead and tap into Edit mode with that. Let's press A, and then U and let's go ahead and do a Smart UV project and go ahead and unwrap. And let's just check our UV map. That's a busy map, but it all looks pretty good to me. So let's go ahead and select now our oven body, and there we go. That's done. Okay, let's tap out of Edit mode. And for the moment now, let's just leave that and probably revisit it after we've applied a few colors to other things. So, what next? Let's go ahead and select the oven top here. Let's do that. So let's tap into Edit mode with it, oh, looking at that, it looks like we've got a mirror modifier on this, which I've not applied. So let's back out of edit mode for a moment, and let's go to our modifiers tab, and there it is right there. Let's go ahead and apply that mirror modifier. Now we can go back to the material properties tab and we can tap into Edit mode again, and we can press A and then U and let's go ahead and do a smart UV project. And there we go. Let's create a new material. Let's call this the oven top. And go ahead and click end. Select our principal BSDF and add a principal setup. Let's go ahead and find the oven black paint there we go. Let's press A and go ahead and select that. Okay, let's tap out of Eddy mode, and that's much nicer. That's a nice material. It's quite metally. It's like a thick paint of metal. That's looking really good. Okay, so what now? Let's select this one here. And let's tap into Edi mode with this one. Let's press A and then U and go ahead and smart Eve project and unwrap. And let's find our oven top paint. And there we go. Let's tap out of Edo mode with that one. And there's that one applied, as well. Okay, let's also grab this one here now. And let's tap into Edy mode with this one. We'll press A, and then and go ahead and do a smart EV project and unwrap. And let's go and find our oven paint. And there we go. That's that one done, too. Cool. Okay, so I think now let's go ahead and select this. And let's go ahead and just isolate that object. And again, let's tap into Edit mode, and let's press A and then U, and let's go ahead and do a smart UV project and go ahead and unwrap. Okay, let's go ahead and get a material for this. So we're going to use the sort of top material, so let's go ahead and find a oven top material. And there it is. Okay, let's go ahead and just select these four top ones here now. And with that done, let's hold down Control on Press plus and expand on the selection until you've got kind of that going on. Okay, once you've done that, go ahead over here and hit the plus key, and let's create a second material for this. And let's go ahead and hit this drop down. And let's find the oven body color and then go ahead and assign, and there we go. That's cool. Alright, now what do we want to do? I think the next thing we want to do is, let's go ahead and see if we can select some of this spring. So let's go ahead and select some of this like this. And see if we can select some on the front as well. There we go. That's cool. And once you got those selected, hold down Control and hold down plus and go ahead and expand on that selection. And it might take a minute just to sort of get all these faces a lot on this little spring. Once you've done that, come over to the material properties and add another new material to this thing. And let's find the chrome material, and there it is. And let's go ahead and assign that. Let's tap out of Edit mode again and see how that looks. And yeah, that's looking good. So I think, as well, there's this, like, black rod here. So let's make that chrome too. Let's tap into Edit mode again. Let's maybe select one face of that and hold down Control and press Blast and select all the rest. Go over to the chrome material here and go ahead and assign, and there we go. That's cool. Alright. Let's hit the forward slash and bring everything back. And because we use the lt decommand, it's actually apply the materials to the other objects. Now, it's looking like there's no gap between sort of the main cooker top and these, and I don't like that. So let's just select, and the other one. Let's just go ahead and lift those up a little bit. Does to have a little gap between them. And there we go, that's better. Alright, so where's next? I think the next one we can do is this little chrome pipe here. So let's go ahead and fix the rotation on that. So let's press Control A and apply rotation and scale. Let's tap into Edit mode with it, and let's press A. And then U, and let's go ahead and do a smart UV project and go ahead and unwrap. And let's go ahead and find our chrome material, and there it is. And there we go. That's cool. Again, that's a nice little detail. So we got these little circular things here as well. Let's go ahead and just select this one, and let's go ahead and find our chrome material. It's quite a small object, so I'm not going to apply a mirror modifier, sorry, a UV map to this. I'm just going to go for it. And there we go. The other ones are already applied. So what else have we got? We've got these little white things here. These little latches. I'm going to make these the chrome material, so I'll select that. And again, I'm not going to bother with the UV map. I'm just gonna apply those. And that's fine. So we got this little thing here, too, and I'm not going to make that the same colour as the main oven body. So let's go ahead and find the oven body color and go ahead and apply that to that, as well. And there we go. Okay, so we got this one here, too. Let's go ahead and apply the oven body color to that. See how that looks. And I must admit I'm skipping UV mapping a little bit, just because it's such a flat material that we can get away with it in a lot of cases. And yeah, that's fine. Okay, now we've got this sort of the main Aga emblem badge here. Let's do that next. Let's go ahead and select this. And I think I'm going to go ahead and isolate that one so we can see what we're doing. And let's fix the scale on this. Let's press Control A and apply rotation and scale. Let's tap into Eddy mode, and let's press A, and then U, and let's go ahead and do a smart UV project and go ahead and wrap that. Okay, so let's go ahead and sort of apply a base color to this. So I'm going to use the sort of the oven top color. There it is. And there we go. So now that we've done that, I'm just going to select the back like that, and I'm going to hold in control and press plus and just expand the selection to get that sort of raised outer edge like that. And now that I've done that, I'm going to create a new material on our little badge here, and I'm going to sign the chrome material to that. There it is. And with this still selected, I'm going to go ahead and hit a sign, and there we go. So I also want to do these letters, so let's go ahead and select some faces on those. And again, I'll hold down Control and Press Plus and just expand the selection. We may need to do that just on the edges, too, so I'll select some edges on that, too. And I'll hold Down Control and PRS plus and just expand our selection on those. And it looks like the middle as well. Need to do that one, and then this one as well. And I'll just repeat that hold down Control and press plusing just expand on my selection. Okay, now that I've done that, I'll just go ahead and click on Chrome here and go ahead and assign. Let's tap out of Edit mode, and let's go ahead and bring that back into the model, and there we go, that's looking good. Okay, so now we just have this sort of this base color. Are we happy with it? I'm still not happy with it. I must admit, so I think I'm going to select it. I'm gonna go ahead and just disconnect the base color, and I'm just going to click on the base color here, and I'm just going to just manually just take this into the blue like this. Maybe just bring this down a little bit. And in this case, just play with a base colour and get something straightaway, that's looking a lot better now just by doing that. I've got this, a lot more, just a lot nicer. Maybe I'll just try bringing the gray down a little bit more, just darken this a little bit more again. And that's looking a lot better. So we could try just bringing up the IOI, increase the reflection on this, and maybe just a little bit more again. And there we go. Now, that's just looking so much better. Okay, so there's our oven done, and that's looking good. Let's go ahead and bring our island back and our worktops and there we go. That's looking good. So in the next lecture, let's get back to our curtains. Let's go ahead and do our curtains. We can do those. And let's do this little sort of cover here. And we've got this skirting board here to put a base paint on. And I don't believe we've even applied a material to our ceiling yet, so we can do that, as well. All right. Thanks very much. Oh, let's go ahead and do a save. Let's press Control A and save our progress. And let's try that again. I'll see you in the next lecture. Thanks very much. Bye bye for now. 73. Lecture 72 Curtains & Pavers: Hello, and welcome now to Lecture 73. And in this lecture, let's go ahead and do our curtains and our little cover here and our skirting board here. And then let's take a look outside and see how far we can get as well with our paving and our capping stones on top of our little brick wall. So yeah, let's see what we can do. So, I think, first of all, let's just select a curtain, so let's select this one. And let's look at the scale and the scales all good, so let's tap into Eda mode with it. Press A, and then U, and let's go ahead and do our Smart UV project. Make sure you have an island margin, and then go ahead and unwrap. All right. Let's click on new material. Let's call this our curtains. Click Enter. Let's select our principal BSDF and that's add principal setup. Let's go back to our texts. And let's find our curtains, and here they are. And let's press A and the add principal texture setup. Okay, let's take a look at that and see how it looks. Let's tap out of Edit mode. And I would say that material. I'm just going to press Shift B, actually, and just recenter. On the curtains just there. There we go. I would say that sort of materials just a little too big. So I'll go over to the mapping node here, and I'll hold down the left mouse button and select all three. And let's just go ahead and reduce the size of this material to something like that. Also, it's a little dull. So I think I'm going to go ahead and put an RGB curve on this. So let's go ahead and press Shift A and search for an RGB curves and bring this in and sort of put it in the right position and blend it instantly just connect it. And then let's select the center here and then just adjust the color on this curtain until we get sort of the desired result. We're sort of bringing it up into the light. Oh, let's try the dark and see how that looks. Yeah, no, I definitely prefer it in the light. Let's try that. And I think I'll leave it kind of something like that. I think that's okay. Okay, so now you've done that. Let's select the other curtain. And let's check the scale and the scales out. So let's press Control A and apply rotation and scale. Tap into Edit mode, press A, and then U, go ahead and do a smart UV project. Okay, let's add our curtain material. There it is. And there we go. Let's tap out of Edit mode with it and see how that looks. And, yeah, that's working fine just there. I'm happy with that. Okay, so this little cover capping here let's look at the scale. The scales all good. So let's just go ahead and sort out UV map for it, so let's tap into E mode with it, AU, and let's do a smart UV project and wrap. And I think I'm going to have it the same color as the walls here. So let's go ahead and find our walls. And there they are. Let's go ahead and assign those to that. Let's tap out of Edit mode. And yet, that's working nicely for me. It's kind of blending into the walls there. Okay, what next? We've got this little skirting board detail. Let's see if we can do something with that. So I think I'll just press Shift B and just re center on that skirting board again. There we go. And now let's go ahead and look at the scale. The scales all good. Let's go ahead and sort out our UV map. And let's go ahead and apply the sort of the wood gloss material to this one, I think. Where is that Wood gloss material. There we go. Let's tap out of edit mode with that and see how it looks. And I think I'll just try reducing the scale of material on that. So I think what I'm going to go ahead and do is just create a copy of this one and then go over to the mapping node. And let's grab all three and just try tweaking that until we get a finer wood sort of paint brush mark on that material. And that's slightly better. Alright, so there's sort of our skirting board done now, and we've got our curtains done, and we've got our capping done above. What else do we want to do? Okay, we've got a ceiling to do, as well, actually. So maybe let's just grab the ceiling here, and let's go ahead and sort the scale out, let's press Control A, apply rotation and scale, and we can tap into Ediode and we can press A and then U and go ahead, do a smart U if you project and unwrap. Let's tap out of it. And I think I'm just going to assign the war material to this, so let's select it. And let's grab our war material. There it is and go ahead and assign. So at the moment is too dark, but I do like the texture. So I'm going to make a copy of this one. And then I think I'm just going to come up here to the curve to the RGB curve, and just try just tweaking that to get a lighter variation on that. And there we go, that's cool. Okay, let's go ahead and do the other side now. We can just go ahead and select this one. And let's go ahead and check the scale on that, and that's okay. So let's tap in Ed mode and we'll press A and then U and go ahead and do a smart UV project and unwrap. And let's see if we can find an angle on it. Let's tap out of edit mode, and let's go ahead and assign walls oh two on this. There it is 01, I'm sorry, and there we go. Let's tap out of edit mode, and now we have a texture on the ceiling. Alright. So that we've done that, we can actually head outside, I think. It's time to do that. So where do we want to start outside? I think we could start with the paving. Let's do that first. So let's check the scale, and that's all good. So let's tap into Edi mode, press A, and then U, and go ahead and unwrap that. And let's create a new material, and let's call this paving. Look enter, and let's add select our principal BSDF and add principle setup. And let's go ahead and find our paving material. And here it is. Let's press A and add principle texture setup. Okay, so obviously that scale's far too big, so let's go to our mapping node. Let's select all three, and let's just try getting a nicer size applied to this. See how that is. Let's tap out of Edit mode with that and see how that looks. I'd say that's still too big, so I'll select all three again and just try bringing that down a little bit more to something like that, I'd say. Okay, so now what do we want to do? I think the next thing we can do is, let's go ahead and do these cappings. So let's select this capping here. Let's look at the scale. We could fix that. So let's press Control A and apply rotation and scale. And let's go ahead and tap into Edi Mode. Let's press A and then U, and go ahead and unwrap. Okay, let's go ahead and grab our paving material. If I can find it, there it is. Let's select that. I think the first thing I'm going to do is go ahead and create a copy of this because I don't want this color to match exactly where the paving. So now that we've done that, let's go ahead and press Shift A, and let's go and bring in an RGB curve and drop that in position like this. And now let's go ahead and tweak this color maybe to a darker point, just so it's not matching exactly the paving on the floor. Okay, now that we've done that, let's go over to our mapping nodes, select that, and let's just see if we can make this look right. Maybe about there would be about right to me. That's looking cool. Okay, so let's select another capping here now. And let's fix the scale on that. Let's press Control A, and apply rotation and scale, tap into Edit mode. Let's press A, and then U, and let's go ahead and do a smart UV project. Go ahead and unwrap that. And let's go ahead and select paver 01, paving 01, and there it is. Let's have a look at the material on it. Let's tap out of Edo Mode. And yeah, that's looking good just as it is like that. Okay, let's do one more. So let's select this one and check the scale. It's all good. Tap into Edi mode, A, U, unwrap. And let's go ahead and assign our paving 01 material. And there we go. And just check the scale on that, and that's looking good, too. So I think what I'm going to do is I'm going to go ahead and pause this lecture for a minute and go ahead and apply the material to these remaining cappings and I'll see you back in just a second. I think we've done enough of these now to know what we're all doing. Okay, so I'll see you back in just a second. Okay, so I'm back. There we go. All the capping now sort of got our material on them. So let's have a look at that from inside the kitchen here and see how that looks. And it's looking a little bit sort of empty at the moment, but I think once we sort of put we're going to put some outside furniture in there, a little table and some chairs, and maybe some planted flowers or a log pile or something like that. So once we've sort of put some details in there, I think it'll sort of just bring that out a little bit. Okay, so we really are just moving on now. There's not much left to do as far as materials. I think in the next lecture, we have the inside of this drawer to do. We've not got any materials in this one yet, so I'll go ahead and do that. And well, I think that's it for materials, actually. Alright, thanks very much. And I'll see you in the next lecture. Bye bye for now. 74. Lecture 73 The Drawer: Hello, and welcome now to Lecture 74, and we're nearly done with our texturing. I think we've got one major component left to texture, which is our draw here in our island units. So in this lecture, let's go ahead and texture that. So let's first of all, start by hiding our island. And also, let's hide our worktop. So we just got the drawer itself, and I've got a confession, folks. I've got a little confession. If I select this side here like this and I go ahead and tap into Edit mode, if you look at our wood joint on this side here, which is called a dovetail joint, actually got these dovetails the wrong way round. So they sort of flare out towards the end of the draw side, and they should be actually flaring out at this point here and narrowing as they get to the draw side. So, a bit of humble pie, I'm afraid, folks. We need to make a quick little fix on this draw side. I'm really sorry about this. So, how should we do this? I think let's go ahead and just with this item in edit mode, let's just hit forward slash to isolate it. And let's press Z. Let's go to wireframe mode. And let's press three to see this from the side. And let's press one on the keyboard to get vertic selection. Actually, let's press two on the keyboard to get edge selection. Hold on to Walt and just select this loop here. Now hold Shift and hold and select all these other loops like this. Once you've got all those selected, press S, and then Z, and then zero to re level those, and there we go. That's cool. Now let's press one, so we've got vertices and how are we doing this now? So this time, let's go ahead and grab these vertices here. These ones and then these ones. And let's go ahead and bring those in now, like this. There we go. That's cool. Now let's grab these ones and these ones, these ones, and these ones. And let's go ahead and pull those in now. I like that. And there we go, that's cool. That's what I needed to do. Alright, that wasn't too bad. Let's press ze and let's go back to rendered mode. Um let's go ahead and bring everything back. Let's hit the forward slash key. And for a second, let's tap out of Edit mode, and let's have a look at the scale, and the scale's good. So with that down, let's go ahead and tap back into Edit mode. Okay, let's press A, and let's press U, and let's go ahead and do a smart UV project on that. Make sure you have an island margin and go ahead and unwrap. Okay, let's press three so we can select faces. And now let's go ahead and find our fine oak material, and there we go. That's cool. Let's select our UV map. And let's rotate that. Let's press r90 Enter, and let's go ahead and have a look at that and see how it looks. And I think that's actually not too bad. Let's just zoom in a little bit. And I think maybe I'm going to make a duplicate of this. I'll hit this little tab here to duplicate this material. And I'll just select the scale and just try tweaking this a little bit and just see what we get. Maybe we bring the scale down, see how that looks. That's starting to look okay now. Somewhere around there, I'd say. Let's tap out of Edit mode now and just see how that looks. And maybe we need to tweet that a little bit more. I think that scale's too big. I'll tap back into Edit mode, and I think I'll just press eight a selector. And I'll grab the UV map, maybe, and just try scaling that I don't know. And just see what we get. And it does take a while, particularly with wood grain just to get that really nice effect. And it's worth sort of just putting that little bit of extra time in. Let's have a look at that and see how that looks, and I think we can do better than that, even. Let's press A, and let's press S. And let's try scaling that down even a little bit more to something like that. Let's have a look at that now. And there we go. That's looking a lot better. I'm happy with that. Okay, so we're not seeing those dovetail joints that we were just looking at. I think we need to do something with those. So with this one selected here, come on over here to the material properties tab, and let's make a new material here. Let's tap into Edit mode with that. Okay, let's go ahead and select our dovetail. So let's select this one here and now hold control and just select that one there. And now go ahead and hold down Shift and select this one and hold control and select this one. I'm trying to see around that little handle. And let's hold shift and select this one, hold control and select this one, shift and select this one, and then hold down Control and select this one. With those selected like that, let's go ahead and select our new material here and go ahead and assign. And just like that, they've turned white. Let's go ahead and find our fine oak material again. And let's select this fine oak one. But then straightaway, let's make a new duplicate of that. And let's go ahead now and bring in an RGB curve. So let's press Shift A, and let's search for an RGB Curves map, and just drop that in there like that. Okay, let's find a nice angle on this. Maybe let's go ahead and tap out of Edit mode. And let's select the middle here and just try tweaking this now and see what we get and find that nice place that will look good. There we go. That's starting to look better straightaway. Let's just try tweaking that a bit more. And yeah, I'll leave that just like that. Or maybe just lighten it up a little bit to something like that. I'd say that's looking good now. Okay, so I like the color change here on these dovetails, but what I still don't like is that the grain actually matches between these dovetail joints and the rest. So we need to do something with that. So I think make sure you've got this one selected, and just go to the scale here and select all three and just try adjusting the scale to something maybe a bit more dense like that. That's looking much better. Okay, so that's the end done now. We're happy with that. So let's go ahead and do the rest. So let's maybe select this one here like this now, and let's fix the scale. Let's press Control A, and apply rotation and scale. Let's tap into Eddy mode. Let's press A, and then U, and let's go ahead and do a smart UV project, and let's go ahead and unwrap. And let's find our material. Let's find maybe fine oak 01. And let's go ahead to our UV map, select all of it. Let's Let's press 90, Enter. Let's have a look at that. Maybe let's just go ahead and scale that down, Let's press S and just reduce the scale until we're getting something a bit more convincing. And I say that's looking pretty good now there like that. Okay, so that's that one done, let's go maybe to the back now. Again, let's look at the scale and that's out. Let's press Control A and apply rotation and scale. Let's tap into Edit mode. Let's press A and then U and do a smart EV project and go ahead and unwrap. Let's go ahead and apply our material. Let's find our fine oak. One, and let's go ahead and rotate that. Or rotate our UV map. Let's press r90, Enter. Let's grab our UV map and press S and go ahead and scale that until we get something working out, something like that, I'd say, there we go. Okay, so we've got those done. They're looking good. So what's next? Let's do maybe this one here. So let's tap into Edi mode with it, press A U into a smart UV project. And let's go ahead and apply our fine oak. Number one, there we go. Let's grab our UV map, and let's press, 90 enter, and let's go ahead and scale our UV map up. There we go. And just get some nice looking grain in our board. Let's have a look at that. Let's tap out of Edi mode with that, and that's working just fine. Okay, let's like this one now, and let's do the same. The rotations out. So let's press Control A and apply rotation and scale. Let's tap into EI mode, let's press A U and do an unwrap. And let's go ahead and grab our Fine ok material and fine ok 01, and let's grab our UV map, let's rotate it. And let's go ahead and scale that UV map up. Let's press S, and just go ahead and scale that up until we got something about right. Let's have a look at that and see how that looks. Okay, let's tap out of Edi mode there, and there we go. Okay, let's grab this little divider here now, and the scales out, so let's press Control A, and let's do a rotation and scale. And let's tap into EDI mode. We'll press A, then U and go ahead and do a smart UV project. And let's go ahead and find our fine oak material. Let's try the 01, and let's go ahead and just rotate our UV map. Let's press, 90, Enter. Let's have a look at that and see how that looks. Let's tap out of Edit mode. And yeah, that's absolutely fine. Okay, so we could sort of go along and apply all the material to all of these. But I think in this case, what we're going to do is just grab all of these, and just go ahead and delete those. And we're going to use the array modifier, I think, just to duplicate that real quick. So let's go ahead and grab this little piece here. And let's go with the modifiers tab, add modifier, generate and array, and we're doing this in the X, which is what we want. So let's just go ahead and increase the gap in the X factor. To maybe something like that, and maybe just shift that over a little bit and now increase the count on those. Let's try increasing the gap between them, something like that. Maybe increase this to eight on the count. And now just take them back a little bit. And there we go. I'd say that's about right. All right, so now we just have the bottom to do, so let's go ahead and select this one, and let's tap into Eta mode, press A U, and go ahead and do a smart EV project and unwrap. And let's go ahead and grab our fine oak number one. Okay, let's grab our islands, and let's just press S, and let's just see what we can do with the scale on. Okay, so all we need to do now really is just make a duplicate of this side for this site. I think we'll go ahead and use the mirror command to do that. So let's go ahead and just go ahead and delete this one. And let's select this one here. And let's right click and go ahead and set the origin to its geometry, and there we go. And let's go ahead and hold down Shift and press S, and let's go ahead and put the cursor to the selected. There we go. Get this one now, and let's right click. And let's set the origin to the three Dcursor and now select this one again and press Shift D, right click twice, and go ahead mirror in the X axis. And there we go. That's that one in place and looking good. Alright, so we've got a drawer done now, and that's all good. So let's go ahead and bring everything back now. So let's unhide the worktops and go ahead and unhide the island. And I think in the next lecture, I just want to do a few little tweaks to our kitchen. So there's two things that's kind of bugging me. The first one is these columns. And I was looking at these, and of course, we could bring the bottoms of these columns down so it's touching the floor. But that still wouldn't be very convincing. I would still look like the column is sitting on the wooden floor, and that's just not right. So I think what we're going to do is put a trim around our columns to cover up the base here, which is probably what would happen if it was a real kitchen. And then also our little table here. I don't think I'm happy with it. I think we need to do a little bit of work to this. The color is a little bit orange, which is something that's a bit off putting. But also, it's symmetrically, or it's just not aesthetically pleasing. So I think what we're going to do is go ahead and have a look at this sort of this rail here and bring that down or just increase the width on that until it's level with the underside of our worktop. And then we'll go ahead and do some cuts on that with the Boolean modifier and then see how it looks. So we'll do all of that in the next lecture. Alright. Thanks very much. Bye bye for now. 75. Lecture 74 Last Few Tweeks: Hello, and welcome now to Lecture 75. In this lecture, as I mentioned at the end of the last lecture, I think I want to start off by putting like a trim around the base of our columns. So let's go ahead and make a start on that. So I think for a while, we don't need to be in this full shaded mode. So let's go back to layout here, so we go back to our old sort of roots of modeling. And I think all we need is a column, so let's grab this one and hit the forward slash and isolate it. Okay, let's bring the cursor to the base of this, I think. So let's go ahead and tap into Ed mode with it. And let's press one so we can select vertices, grab that one there, and go ahead and press shifts and cursor to the selected, and there we go. Okay, let's go ahead and tap out of Edit mode with that. And let's press Shift A. Let's go ahead and bring in a cube. There we go. Let's press seven so we can see this from above. And let's go ahead and scale this down the Y. Let's press S and Y and bring this down like this. Maybe bring this out. And now let's go ahead and tap into Edit mode with this. Let's press Z and let's go into wire frame. Let's grab these vertices here and maybe pull those in like this, grab these one here and go ahead and pull those in like this and grab these as well and go ahead and pull those in like this. Okay, let's press A to grab all, and let's go ahead and take that back now until it's kind of right up to the edge of the beam, something like that. Okay, let's press three to see this from the side now. And let's grab these top vertices. Let's bring those down to where we want them. So I would say I want those about there like that. Grab these ones and bring those up until they're going to be sitting just above the axis, something like this. And I'd say that this trim is a little too thin, so I'll go ahead and increase the thickness on it too, something like that. Okay, let's press seven again to see this from above, and let's tap out of Edit mode with that. And let's fix the scale on it. Let's press Control A, and apply rotation and scale. And let's go ahead and grab this now, let's go ahead and set the origin to the geometry, and let's press Shift D and Y and bring a copy back now and put that just over here now like this. Put that in position just on the edge of the column, just like that. Let's go ahead and make another copy. Let's press Shift D and Y and bring one out like this. Then straightaway, press, 90, enter, and go ahead and bring that now to the edge of the column and put that in position just where it needs to be, which is about like that, I'd say. Okay, let's go ahead and make another copy. So let's press Shift D and X and go ahead and bring a copy now to over here like this. And put that just about there like that. Okay, so I think for a moment, let's press SD and let's go back to solid mode. Now, in the past, when we've done these sort of angle joints in the corners, which we call mitres, when we've done those, we've used the Boolean tool to cut. And that's done a really, really precise, clean cut between those. But the case of these trims around these very old traditional looking columns, I don't mind if the joints are a little bit open and a little bit inaccurate, not really inaccurate and terrible, but just suggesting that everything is perfectly square and true in this case. So I'm just going to go ahead and create these joints just by hand. And by doing that, it might not look as perfectly accurate as when we did it by using the Boolean tool. If that makes sense? Does that make sense? Hope it does. Alright, so let's go ahead and press seven again to see this from above. And let's grab this one and this one. And let's go ahead and tap into Edit mode with those. And let's go ahead and press Z. And let's go into Y frame. Okay, so I'm just going to grab these vertices here to begin with and pull those back now to something like that, there, like that. Grab these vertices and pull those back there like that. So I'll grab all these vertices here now and I'll go ahead and pull those back like that, and I'll grab these ones and go ahead and just pull those back into position, something like that. There we go. That's cool. And hopefully, you can see that this joint isn't as accurate. But that's kind of the effect that I'm after. I hope that kind of makes sense that I'm not going for, like, perfection on this. I'm going for something looking a bit traditional. Alright, let's do this side now. Let's tap out of Edit mode for a moment. Select both of these. Let's tap back into Edit mode again. And let's go ahead and select these ones and pull these back to here like this. Grab these ones now, and go ahead and pull those back to here like this. Grab these ones and pull these back now. Grab this one here and pull that back now until that one's in position as well, something like that. Let's have a look here and see what we got. And grab these ones here and pull this one back a little bit like that. And there we go. That's cool. Alright, now, Ed we want to boom. Now, let's tap out of Edy mode. Let's go ahead and select this side and this side, and let's go ahead and tap back into Edi mode. Let's grab these ones here, and let's pull those back to there like that. Then grab these ones and pull those back, too, there like that. Okay, let's grab these ones. And let's go ahead and pull those back now to something like that. Then grab these ones and pull those back to something like that, I'd say, I think that's looking pretty good now. Yeah, I leave that alone. Okay, you've got the last one to do here. And let's select these ones and go ahead and pull those back. Grab these ones now and pull those back as well, and go ahead and put those in positions, something like that. Grab these ones here, and just go ahead and put that in position, something like that. Grab these ones here and go ahead and pull those back. And again, go ahead and put those in position and maybe leave a little bit of a gap. Okay, there we go. Let's press Z, and let's go back to a solid mode. And let's see what we got. And as you can see, they're not really open. They're not embarrassingly bad joints, but we've just got some slight inaccuracies this time. Okay, let's select this item here, let's tap into Edit mode, and let's select this edge. And let's press Control B, and let's go ahead and bevel this edge. Put that something like that, and just make a sort of mental note of the number. So 0.0 111. And I'm going to leave that with just a single bevel on it just like that. Okay, let's go ahead and do these other ones now. Let's tap into Edi mode with this one, select this one, press Control B, and go ahead and bevel this. And just try and level the bevels up. And let's have a look at that and see how it looks. And again, I'm not looking for perfect accuracy, so I think that will be just fine like that. Okay, let's do this one now. Let's tap out of Edi mode. And let's select this one, tap back into Edy mode. And let's go ahead and select this edge here, and let's press Control B, and let's bevel this one as well, and just line it up something like with the other one, something like that. Okay, let's tap out of Edi mode with that. Grab this one now, and let's go ahead and tap into Eddy mode, grab this edge here, press Control B, and let's go ahead and bevel this one, too. And there we go. That's cool. Okay, let's tap diode with that one, and let's select this one. And let's go ahead and add the bevel modifier to it now. And let's add an extra two zeros to the right to the decimal point. And let's go ahead and add three segments to this, and there we go. That's cool. I'll go ahead and apply that. Let's do the same all the way around. Let's select this one, add modify, generate Bevel, two zeros to the right to the decimal coin. And let's go ahead and add three segments to this. And there we go, Let's go ahead and apply that, too. And just carry on working our way round. Select this one, add modify, generate and bevel, and two zeros to the right of the decimal coin. Three segments, and there we go, Let's go ahead and apply that. Okay, let's do this last one. Now grab this. Add modifier and bevel. Two zeros, the rise, the decimal point, and three segments. Oops, that's four, and go ahead and apply that as well. Okay, so now that we've done that. Let's go ahead now, and let's press Z, and let's go back. Or let's just go to our shaded mode up here, sorry. And let's have a look at that and see how it's looking. And we can go ahead and apply material to this now, so we can select this and let's tap into Edit mode, and let's press A, and then U, and let's go ahead and do a smart UV project and go ahead and unwrap. And let's go ahead and find our fine oak material. Fine ocho one. And I think straightaway, I'm going to go ahead and make a duplicate of this. And I think now, let's go ahead and select our UV map. And let's press r90, Enter. And let's take a look at that and see what we think. Let's tap out of Ed mode and see if we want to change anything. And I think I do. I'll just go ahead and just grab the scale on this and just play around with a scale a little bit to something like that. That's cool. Okay, let's select this one now. Let's tap into Eda mode. Let's press A, U, and do a smart UV project. Make sure you've got an Ile margin and unwrap and go ahead and find R fine Oak three's grab our UV maps, and let's press r90, Enter. And I think in this case, I'll press A, and I'll just move that around slightly so we get a variation in the pattern between these two bods. Okay, let's do this other one here now. Let's select this one. Let's go ahead and tap into Edit mode. Let's press A U and do a smart UV project and unwrap. Let's find a Fine OCO three. And let's grab our UV maps and rotate that. Let's press r90, Enter. And let's have a look at that. And let's tap out of Edit mode, and there we go. All right, let's do the last one of these. Let's grab this, same thing. Tap in Edit mode, A, U, and go ahead and unwrap and unwrap. There we go. Let's add our Fin Oak, 03. Let's grab our UV map and go ahead and rotate that. And let's just move this around on our UV map a little bit like this. All right, there we go. So now we've got a trim on the bottom of our column. And I think the only other thing I'd like to do is just try lifting that up slightly. So I'll just grab all of those like that. Go ahead and take that up just a tiny bit, so you have a little bit of a shadow gap to the floor, and there we go. That's better. That's nice. Okay, let's select this now. Let's select also our columns. Whoops, that column there. We can also select the columns, that one, and we've got the other one too. That one there. Let's go ahead and hit the forward slash and isolate those. Let's press seven, so we see this from above. Let's go ahead and select these pieces. Whoops let's go ahead and press Shift D and X and bring this copy over like this. And let's go ahead and line this up with this column here, like this. And let's go ahead and press G and X and just bring this into alignment. I like that. Okay, let's do that again. Let's press Shift D and X. Bring a copy over like this and go ahead and bring this back to the wall like this. There we go. That's cool. And while we've got it, let's go ahead and press Shift D and X again and bring this copy now over here to this side now like this and go ahead and position this one. And there we go. That's cool. Okay, let's hit the forward slash and bring everything back. And let's see how they look. And that's looking a lot better. That's making a lot more sense at the base of those columns. It's just now looking like nice woodwork. Yeah, that's looking great. Okay, so I think that took quite a while. So I think let's go ahead and play around with this table in the next lecture rather than just trying to rush it. Alright, so let's go ahead and do a save. Let's press Controls. And I'll see you in the next lecture. Bye bye for now. 76. Lecture 75 Changes To The Table: Hello, and welcome now to Lecture 76. And in this lecture, I just I'm not happy with this table. This little table here, like I said, it just doesn't it doesn't pop. It doesn't do enough. So let's revisit this because everything else in this kitchen, I think is looking really good. And I'm sure yours is, too. So I think it's a shame to sort of just settle for something here. So let's go ahead and sort of just make a few alterations to this. So let's start off by maybe let's go to layout mode, so we just go back to our modeling. And, I'll just hit forward slash bring everything back. And let's just isolate, in this case, all I really want is this one and this one, the worktop and this little piece here. I'm going to call this the skirt, the table skirt. And with those two, I'll go ahead and hit the forward slash to isolate those. Here we go. So I think the first thing I want to do is go ahead and bring this lower surface here down, so it's almost at the same level as the underside of the stone. I'll probably stop where we see that bevel there on that sort of lower edge of the worktop. I'll probably stop just before that. So let's tap into Edit mode with this one, and let's go ahead and select this face here. So I'll press three to select faces, grab this one. And let's go ahead and just get a bit more of that bevel. So let's hold down Control and press plus just to select the bevel. And if you go too far, just hold down Control and press minus like that. All right, I'm going to press one on the numpad now to see this from the front, and I'm going to go ahead and pull that down in the Z axis, making sure that I stop just before the bevel on that worktop. I'll press G and then Z and go ahead and bring this down to about like that, I'd say. That's Okay, now we've done that, let's tap out of edit mode. And the scale is all good. So now I'm just going to apply the Boolean modifier to this using our worktop to get a nice cutout because like I said before, if you just leave components sort of sort of colliding with each other, you don't get a realistic effect. I'll select this one, add modifier, generate and boolean, grab the little eyedropper and just go ahead and just click on the worktop. And there we go. We could tell that that actually works, so that's fine. So I'll go ahead and apply this Boolean now. I'm done with that. And now I think I just want to isolate this, so I'll hit the forward slash, which will bring everything back, and then I'll just hit it again. So I just want to create a slight shadow gap between the worktop and this one. So I'm just going to move these surfaces just up and slightly this way, just to create a gap between them. So let's tap in the edit mode. Let's select this surface here. And let's go ahead and hold down Control and select that one there, so we get that. And now I'm just going to bring it over a tiny amount to something like that, I'd say. And now I'll do the same. I'll just grab this one and maybe just this one as well. And now I'll just take those up a tiny amount, as well. There we go. That's fine. Okay, again, let's bring everything back, and let's tap out of Edit mode. And let's just see that we've got a nice sort of little gap. There's a gap there. I see that. And I do see as well. I can see a slight gap. On the top, as well. So I'm happy with that now. That'll look quite realistic. Okay, now what do we want to do? Let's go ahead and grab this again now, and let's isolate again. And the next thing I want to do is put a little detail on the bottom edge of our sort of skirt, table skirt here. Let's do that. So let's tap into Edit mode with it. And let's press two so we can select edges. And let's select this edge here, and let's press Controller and go ahead and put a loop in, and then bring that loop down to something like that I would say. Now, I didn't go all the way to the end, but that's all right. We can deal with that. Let's just select this one, and let's select this one. Let's right click and let's go ahead and subdivide. Let's press one so we can see the vertices. Let's select this vertices here and this vertices here. Now let's go ahead and bring that down now. Let's press one so we see this nicely, and let's just make sure that's reasonably level without last one there. I would say that is about there like that. That looks about right. Okay, so now just select this vertices and then this vertices. Right click and go ahead and connect vertex paths. Let's do the same on the other side. Let's select this vertices and then this vertices. It doesn't really matter the order. Right click and go ahead and connect vertex paths. And there we go. That's cool. All right, let's press three so we can select faces again. Let's grab that face there. And let's hold down Control and go ahead and select this one and hold down Shift and control, select maybe to here. And then one last one, shift and control and go to there. And now that we've got all those, let's go ahead and extrude those out. But in the transform excuse me, in the transformation orientation settings, come to this and go to normals like that. And here as well, in the transform pivot point, just click on this and bring this to the median point, and there we go. And now let's go ahead and press S. Sorry. And now let's go ahead and press E for extrude and then S and go ahead and extrude those out to get this kind of detail now like that, and that's cool. Alright, so let's go back to the transformation orientation, go back to Global, and let's hit this one and go back to individual origins. And now hold on to Alt and select this edge here, and then hold Shift and Alt and select this edge here. And with those ones selected, let's go ahead and bevel this. So let's press Control B and go ahead and bevel that edge. And let's just see if we can get a nice looking detail there. I'll just roll the mouse wheel to get some extra fillets on that, and there we go, that's cool. Okay, let's tap out of Edit mode with that and see how it looks, and that's looking good. I'm pleased with that. So what do we want to do now? I think another thing we could do with this is actually put a drawer on this. I think that would be quite a nice thing to do. So I think what I'm going to do is let's go ahead and select this, and let's press shifts and bring the cursor to the selected. And now let's press Shift, and let's bring in a cube. Let's just press and scale this down until we get something like that, I'd say. I think that would be about right. And now, grab this and press Shift D and X and bring a copy forward now like this. And now grab this one and pull that over now in the Y axis like this. If you want to, you could create another one here. I don't think I'm gonna bother. I'm going to leave mine at two drawers. All right now select these two surfaces and tap into Edit mode with them and press three so you can select faces, and go ahead and select those faces and do the same on this one, too, that one, that one, that one, and then that one. And with those faces selected, go ahead and press X and go ahead and delete faces, and there we go. All right, let's tap out of edit mode for a moment. Let's fix the scales. Let's press Control A, and let's go ahead and apply rotation and scale. Okay, so the next thing I'm going to do is go ahead and apply a solidify modifier to these to put some thickness in these panels. So let's do that. Let's add a solidify modifier, and that's too thick. So let's add our standard two zeros to the right of the decimal point, let's go ahead and turn that one maybe into something like a five and see how that looks. I'd say that's still too thin. So actually, I'm going to go ahead and delete one of those zeros. And maybe turn that one into maybe three and see how that looks. And yeah, I'd say that's about right. I'll go ahead and apply, I'll turn on even thickness. And then let's go ahead and apply that solidify modifier. So I'm going to use the Boolean modifier now to put some cuts in here to give the appearance of two nice flush mounted draws. So let's select this here, and let's look at the scale. It's all good. Let's add the modifier generate and boolean. Let's select a little eyedropper and go ahead and select these panels like this. Okay, let's find these here. So it's in the outside group. And let's go ahead and hide it and just see that that Boolean modifier worked. And it did, it worked perfectly. So there we go. Let's go ahead and bring that back. Let's select this and go ahead and apply our Boolean modifier. And now we're done with these, so we can go ahead and just delete those items. And there we go. That's cool. Let's bring everything back and see how it looks. And I'd say that's looking better. We've got some nice features now sort of on our table. Alright, what do we want to do next? I think now we could go back to textures and just go ahead and sort our textures out. So let's go back to the shading tab here, now. And let's see if we can make this less orange. I'm not in love with this orange finish. So let's select it. And I think let's go ahead and add an RGB curves node to this. So let's press Shift A. And let's search for the RGB curves node. If you can't see it, go ahead and start typing it, and it'll appear. So I'll select that, and I'll drop that in like that now. And let's just sort of zoom in a little bit on our table. And let's go ahead and just add one control point to the middle and then just pull that over and see if we can get a slightly better appearance. And that straightaway now, putting that into a slightly darker, deeper looking timber is nicer. So what else can we do? Could look at the coat here on the principal BSDF and maybe just give us a slight bit more sheen. So let's increase the IOR just to give it slight more reflection. Let's take that up to maybe 2.5, and let's reduce the roughness slightly and increase the density of the coat. And there we go. Now we've got quite a nice reflective surface, and I think I'm liking that, in this case, a bit more. Make this table a bit more refined. Alright, so I think now, let's go ahead and just apply that to the column here. So I think let's go ahead and hit this little drop down, and let's find the tabletop, and here it is. Let's go ahead and apply that. But the grain is too small, so let's go ahead and make a duplicate of that go over to the mapping nodes, select all three, and just go ahead and reduce this to bring some grain back in to the column to something like that, maybe. Okay, now that's starting to look a lot better, I think. I think between the drawer detail there on the front, so I'm not going to put a handle on that. I'm going to do you may have heard of it. It's called a push to open drawer, so I'm going to assume that's like a push to open drawer, and we have the middle drawer there as well. So that's looking good. So I think the only other thing I want to do is make a feature of this top. So I'm going to use like a pop up power socket on this. I think that'll look pretty good. So again, let's select this top here now. And let's go back to layout for a while. And let's select this one and then this one. Let's go ahead and isolate those for a moment. Let's make a copy of this. So let's press Shift D and Z and go ahead and bring that up like that. And now let's scale this down, but not in the Z. So let's press S for scale. Hold down shift and press to omit scaling in the Z axis. And then let's bring this down to something like that, I would say. I think that'll probably be okay. Okay, once you've done that, I'm going to scale this up in the z. So let's press S and Z. And go ahead and scale this up a bit. And now I'm going to press one to see this from the front, and I'm going to bring this down and drop this sort of something like that. In fact, I might even scale it up a little bit more in this head. Let's press SSNs head. Go ahead and scale that up until it punches through both those components like that. Okay, now that we've done that, let's go ahead and apply the scale to this. That's press Control A, and apply rotation and scale. All right, I'm going to use the Boolean modifier now, so let's grab this tabletop, add modifier, generate and boolean. And let's go ahead and grab this little thing in the middle here and click on this and we can see that worked. So I'll go ahead and apply that. Okay, let's select this one now, and let's do the same. Let's add modifier, generate and boolean. And let's grab the little drop it here and just drop on this one now like this. Let's see that this actually worked. Let's find this item. And it's here in cabinets. And it's here in Ireland. Let's find this. There it is. Go ahead and turn this off. And, yeah, it did work. That's absolutely fine. Okay, let's turn that back on for a minute now. And let's select this, and let's go ahead and apply our Boolean modifier. And let's press one to see this from the front. Select this. And let's go ahead and scale that down now in this head. So let's press. Let's press S and Z and go ahead and scale that down to something like this, and then bring this up now and go ahead and put that at the top, like that. Once we've done that, we can go ahead and scale that down again, but not in the d. So let's press S, Hold down shift, and press, and just scale that down a tiny bit to get a gap between. Whoops. Something like that, I'd say. Okay, so now what do we need to do? I think we have a bevel on the center one because it's a copy of the tabletop. But we need to apply a bevel to this. So let's do that. Let's select this, tap into Edi mood, press two, so we can select edges, hold on to Alt and just select this edge, and then hold shift and Old and just select this edge. And now let's press Control B, and let's put a bevel on this. And, yeah, I think that's about right just like that. Okay, let's tap out of Edit mode. And now what do we want to do? So the next thing we can do is go ahead and hide that. I'll press H and hide that. So we just have this. And now let's go ahead and bring in a cube. So let's press Shift A, and let's bring in a cube. Let's scale this down, press S and scale this down and press S again and go ahead and scale this until it's within the limits, something like that. So it's smaller than the disc that we've already put in. Okay, let's press one now, so we see this from the front and let's press S so we see a wire frame. And let's go ahead and bring this, so it sits on the underside of that circular piece in the middle, which is there like that. That's good. Alright, let's press now, and let's go back to solid mode. And I think we could also Oh, let's apply a bevel to this. Let's press Control A and apply rotation and scale. Let's add the bevel modifier to it. And let's add two zeros to the right of the decimal point and turn the one into three. Let's try three and enter, and there we go. That's cool. And increase the segments to about three. Alright, let's go ahead and apply that bevel. And let's bring everything back. So let's hit the forward slash. And now, also, because I hid the skirt, we need to sort of bring that back separately. So let's press Aldag to bring that back separately. Okay, so now let's go back to the shaded tab. Let's hit this one and go back to that and see what we've got. Okay, so the wood grain is still looking good in our tabletop, but we need to do something with this one because the grain is just too small on that. So let's select this and let's make a copy of the material. And now we can go ahead and reduce the scale of that material, bring that down a little bit until the scale kind of looks about right. And I would say, that's better now like that. Okay, so let's go ahead and hide this one now and this one. Let's press H holding those. Now let's select this one and this one, and let's go ahead and bring those up a little bit to something like this. And now let's press Old H and bring those other ones. That's cool. Let's now grab this socket here and let's press Shift D and Y and bring this over like this. Okay, let's just select the tabletop, as well, this piece and this piece. And let's go ahead and isolate those, and let's press one so we see this from the front. Let's select this, and let's bring this over something like this and centralize it like that. And that looks pretty good, actually. We could grab everything here now and maybe just pull it up a little bit like this. And there we go. Let's press one now. Sorry, let's press three. And let's find that socket, and there it is. And let's grab it. And let's position this. Well, let's put one here. And let's also hold Shift D and Y and bring a copy over now to the opposite side like this and position that on the surface like this. And let's do the same with this one. Let's grab it and we need to rotate it. So let's press z180, Enter, and then go ahead and bring that back into position now like that that. Alright, what else do we need to do? I think the only other thing I want to do, let's hit the forward slash and bring everything back. And we have sockets on there, so that's cool. So I think the only other thing I want to do is just put a texture to this cube. So I'll grab this, and I'm just going to apply the cabinet material to this, I think. So let's select the drop down here. Let's find our cabinet material and go ahead and apply. And there we go. That's cool. That's looking good now. I think that was worth it. Putting a little bit of extra time into that table was definitely worth it. Now we have a functioning sort of power, I'm not sure what you call it's rise and fall power socket or something. We have some drawers on this. We've deepened the skirt, which has just added some nice sort of symmetry to this, and we've made the color look a lot better. A long lecture, I must admit, so I'm sorry about the length of that, but I thought we'll just push through and get this done in one lecture. And with that done, I think that's the end of our texturing now. So that's kind of phase two of the course finished. So in the next phase, let's light our course. So we need to put lights Well, we can put lights inside these lamps here, and we can light inside our oven. We can do that, too. And we're going to put some under cabinet lighting on our wall cabinets. And I think maybe as well, this corner here is a little bit too dark, so we'll light this up too. So let's go ahead and do that in the next lecture. Okay, I think it's time for a cup of tea and a biscuit. It's been a long lecture. Alright. Oh, let's do a save. Let's press Control S. Save our progress. Definitely save that. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 77. Lecture 76 Lighting Part 1: Hello, and welcome now to Lecture 77. And yeah, I mean, I think we're finished with our textures now, and I think they're looking amazing. So let's move on to the sort of the next sort of area of our course, which is lighting it, creating some really dynamic lights to further enhance our scene and further just make it more realistic and just make it pop. So let's go ahead and do that. So I think the first thing we need to do is consider our ambient light, consider our HDRI lighting, which is creating all our nice ambient light in the scene. And it was always my intention to have a well lit naturally well lit room. That is why we got such huge skylights in our scene, and we've got these side windows here and our huge bifolder. So, in itself, that's creating some nice ambient light that we can work with. We have got a bit of a dark area here, but we'll address that at one point or another. But first of all, let's start off by fixing the light on this side. Okay, sorry, let's get back to our HDRI for a second, as we look into that. I'm already digressing. I'm already going off on a tangent. Let's sort of move the camera around so we can see the majority of our kitchen and we can also see the HDR right. Let's find that sweet spot in our scene. And it looks like that is about it. There like that. Actually, that's a nice position for a camera ride there, too, at some point. Anyway, okay, I must stay on course, not just go off on tangens. So what we're gonna do now is come down to Object shader here, and let's go ahead and click on World instead of Object. Let's come down here to the background note. And let's just bring that down in strength, paying attention to our HDRI, it is part of our scene. You know, this beautiful view is part of this. So let's go ahead and bring this down and just decide at what point we're happy with the ambient light in the kitchen. And also happy with the detail in our HDRI, because you can see, as we brought that down to 2.6, all of a sudden, those trees have come to life and the green colors are a lot better, a lot more vivid, where before when it was up around 4.6, I think, everything's quite washed out. So let's go ahead and bring that down now, then and have a look at that at we go. So even already at 3.7, the trees have more details and the hills are looking better. Everything's just looking better. Are we happy with that color? Are we happy with that light level? Let's bring it down maybe to a 3.5. And it's looking much better outside, and our paving isn't as washed out. Let's have a look at our kitchen. Let's pan around. And, yeah, I think I'm happy with it. Obviously, the light levels have dropped in our room, but it's still well lit and it's quite ambient. It's lit all the way around, except for this corner here. So I think I'm going to leave that alone at around 3.5. Okay, let's go ahead and go back to object again now. And let's go ahead and drag down our shader editor so that we're the majority now in our viewport like this. Let's go over to Outlooker here, and let's go ahead and compress all this stuff. We don't need this open anymore. And let's go ahead and compress cabinets, and we can even compress the reference file. And let's make sure that we can organize our lights nicely. So let's click on scene collection, and let's add a new file. And let's go ahead and call this file Lights. I'll get inter, of course. Leave it selected. And now where shall we start? I think let's go ahead and start with island lights. That seems like a good place to sort of begin. So let's select one like this, and let's bring the cursor to it. So let's press shifts and cursor to the selected, there you. And now when we bring our lighting, it'll be perfectly positioned inside the lamp shade. So how do we bring a light in? It's real easy, really is. Let's press Shift A, and let's go down to light this time. Usually, it's mesh or curve. This time we're going down to light. And we have four choices on light. We have point sun spot, and area light. The sun is a light for sort of lighting your entire scene, so we're not going to use that, so we have a choice between the three. So I'm going to go for point light. We will explore as we go the area light as well. But right now, let's go for point light. And there we go. Straightaway now, it's created a nice light in our scene. It's creating a small shadow here, which I quite like, and the power levels actually right. But if we make sure that our new light here is actually selected, come down to here to this new little icon and click on this one, and now we have some control over this slide. So what we can do is have a look at the color. So let's maybe just click on color here. And let's add a little bit of warmth. We've got a lot of brass. So we need a color to sort of complement that brass. So let's bring that into sort of the warm yellow color. Something like that. Let's have a look how that is. That's quite nice. And we can play around with a power, increase it, of course. But that kind of washes everything out, and it's a little overpowering. So I'm going to leave that. I thought it was quite nice at ten. I was just kind of showing you what you can do. And we'll leave that at around the ten mark like that. So all we need to do now really is make a copy of that light and drop it inside the other lamp shades. But let's not use the shift D because if we use the Shift D to make copies, each of the light will have independent properties, and we want all properties to be shared between these three lights. So if we adjust these lights, we adjust all of them. These ones will share the settings. So let's press Alt D and X and bring a copy across and put it in the middle one like this. And let's do the same again. Let's press Alt D and X and bring that across now to this one like this. And at any time during your rendering, when you're setting up your camera and considering your scene, you can always come back. Just click on one of these lights. Come down to this little icon. Click on this, adjust your power and adjust your color. The radius adjusts the size of your lights, but I obviously want them to be within the confines of my lamp shade. There we go, something like that. And yeah, that's cool. So your bounce basically affects the amount of times the light will be reflected off surface, and I generally don't play around with it that much. So shadows, of course, whether the shadows will be created by the lights. So as we turn that off, this shadow here on the underside of our nice table just disappeared. So I'll turn that back on because I do want shadows to be created by these lights. And there we go. That's cool. So we have our first three lights in our scene, and I think they're looking good. So where to now? I think the next ones we could do was probably the Coker hood. I think that would be a good one to do. So I'm going to press Shift B, and I'm just going to recenter by sort of drawing a square in this area and just recenter under our Coker hood. And I'm sorry, folks. I'm going to go off target for a minute. I don't get to just drift. Sorry about this. I'm personally not happy with this chrome material on these vents. I was just thinking it a few minutes before I started this lecture. It's just not doing it for me. So I think everything else is brass, so I'm going to make those brass, as well. So I'll just select this and come on down to the Shader Editor, click on this, find our brass handle material, and bring that in. And because we use the old decommand, we have it on the other one already, as well. I think that's nicer. Why are we using chrome on one item when everything else is brush? Okay, let's select this light here and now, and let's press shifts and cursor to the selected. There Okay, so let's bring in another light. So let's press Shift A, and let's bring in another point light. And straightaway, that's looking good. We could pull the light up, and because that light's in a cylinder, it's going to act like a torch. Taking the light back, reduces the arc of the light, bringing it forward, increases it. So I'll leave that something like that, I would say. So again, let's put some more color in this. Let's bring that into the warm. There we go. That's cool. And we can either reduce the power or increase it. And I think I'm going to put that somewhere around 15 mark, somewhere around there, I think. Let's try that. And don't think you're ever stuck with that. At any time you can come back and adjust those. So again, let's go ahead and press Alt D and X and bring a copy across now and put that in the other light. And just drop that in position on the X axis, and there we go. That's cool. So I did forget to create a subgroup for that, so let's go ahead and do that next. Let's click on Lights again, and let's create a new subfolder, and let's go ahead and name that. Let's call that the Coker Hood lights. And go ahead and click Enter. Let's grab those two lights. Let's grab this one here. And then this one here as well. And there they are. There's two lights, so let's grab these. And let's go ahead and pull those now into the Coker hood group, and there we go. We'll compress those. And we have these three lights here because I think we did. I forgot to actually create subgroup for the island. So let's go ahead and do that, too. Let's select these lights. Let's create a subfolder, and let's call these the island lights. Go ahead and click Enter and select the three point lights that we have here and go ahead and drag those into the island group lights like that, and there we go. Okay, so that's a good start. So next. Let's actually put some lights under these cabinets here. Let's do that next. So let's maybe select this little downstand thing magic here, and let's re center on that. So let's right click and let's go ahead and set the origin to the three D to the geometry. And let's press Shifts, and let's bring the cursor to that. So our new we'll just drop in there. And let's press Shift A. And this time, let's bring in an area light, and there we go. So the area light I tend to use where it won't be seen, where the origins of the light won't be seen because it never looks that natural, but it is great at a scene lighter. So if you're creating a typical sort of studio scene, it's a great light to use behind camera or in areas which are concealed or in areas that aren't being going to be seen in render or animation. This is an ideal place, and also there's so much control over it. So let's go ahead and press S and Y to scale it down in the Y Rig, in the Y axis, there we go. And let's go ahead and pull that forward in the Y, and there we go. And let's have a look at it. And I'm happy with the height. That's perfect. So I think the only other thing we want to do, maybe, is go ahead and scale that up in the X. So let's press SNH and go ahead and scale that up to about there like that. I don't generally take it to its full extent to the very edge of the cabinet that can create some weird shadows. I'll just show you don't need to follow. I'll press S and X, and just pull that out a bit more, and there we go. And I don't like this light fall off on this side. It's just it might be a personal thing. Maybe you're fine with it, but for me, I'm going to keep that back a little bit. I'll press S&X and just bring this in so we get a slight shadow and shade in the corner. There we go. So now really it's down to color, which is subjective. It's up to you, really. I mean, we can leave that as it is in quite a neutral color or we could try taking this into a cold color. Take it into the blue like this and have a little slight blue light in there. Emphasizes the sort of the blue and the marble and emphasizes the color and the wool. Or we can go ahead and keep it warm and bring this into sort of the pinky, yellowy, orangey color like this. And I think me personally, I like that. It accentuates the brass. Let's bring the power down because I want these lights to be quite subtle. Being that down to maybe a five around about the five, anyway. And yeah, I think that's looking good. So let's create a subgroup for that light. So let's click on the Lights group, create a subgroup. And let's call this under cabinets lights. And go ahead and click Enter. There we go. Let's select this light here. And let's just press M, and let's find our lights group, let's go ahead and put that in the undercabinets light group. Okay, let's get to a point where we can see both sides now and you can see Oops, you can see the sort of the improvement with that under cabinet lights when you compare it to the other side. We've lost all that weird shadowing and everything looks good. So let's go ahead and press Alt DN and X, and let's bring a copy across the other side, of course. And let's take a second to position that light. Sort of centralize that, and there we go. That's cool. Okay, so I think that's a good place to leave it. We've lit our scene on this side of the kitchen, and it's looking great. So I think in the next lecture, let's go ahead and just light this corner up. This corner still needs some work. There's no detail in there because we don't have enough light, so let's go ahead and do that. Alright, let's go ahead and save our progress, so let's press Controls. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 78. Lecture 77 Lighting Part 2: Hello, and welcome now to Lecture 58. And in this lecture, let's go ahead and do some work on this corner here with all these tall cabinets. So there's two kind of things I want to do. First of all, we need to light this corner up. It's not lit at the moment. It's looking a little dark over here. And the second thing I want to do is just create some interior lights for our larder cabinet here to make that pop a little bit when the door opens. So let's go ahead and do those. So I think the first light I want to bring in is an area light. So let's go ahead and press Shift A. And let's go down to lights, and let's go for the area light, and there we go. And let's press seven so we can see this from above. And let's go ahead and go into wireframe for a moment. Grab our area light and bring this over like this until it's middle of the room and center to those two roof lights. Let's press one so we can see it from the front now, and let's go ahead and take that up on the z axis. And now let's go ahead and press R and rotate that until it's angled towards our larder cabinets. There we go. Okay, so I think now keep this highlighted, and let's press set, and let's go back to our full rendered mode. And let's see what that's done for our sort of corner here. Let's see what it's done for our tall units. And straightaway, that's made the lighting a lot better in that corner. But let's see what we can do. I think let's go ahead and just take that light over, first of all, in the Y axis. So if we just press G and Y with it still highlighted, we can bring this light over like this. So let's see if we can sort of light this corner up a bit here. So if I just press Z, I'm just going to rotate this on Z axis like this. Maybe a little bit more z and just bring this round like this. And there we go. It's sort of lighting up that corner in now, a bit more just there. And we could try bringing it down a tiny bit. So let's press G Z and just bring that light down. And now let's try go ahead and rotate it. I just need to see which way I'm going to rotate this one. So I want to rotate that, I think, in the X axis. So let's press R& X and go ahead and bring this up now, like this. And there we go. Let's have a look at that and see how that looks. And that's lighting up that corner a little bit better. I'm just going to press z again, bring that bit more into the corner again like this. And let's try increasing the power on that a little bit. Bring that up maybe to about 30 and see how that looks. Let's just try adding a bit of color to this light. Everything else is a bit warmer. So let's do the same, and there we go. That's pretty nice now. I think that's looking pretty good. That corner now is nicely lit up. That's looking a lot better. Okay, so that's all we really need to do there. That's looking good. We could try maybe bringing that light down a tiny bit, but because it's an area light, I never really want it to be seen in renders. So I want it to be reasonably high, but I'll press G and Z and just bring it down a little bit maybe like this. And let's just try re rotating that. Let's have a look here and see which way. And let's try rotating that on the X axis. Let's press R&X and just bring that light up again, and there we go. That's cool. Try pulling it over on the X a little bit and see how that goes. And make sure that light doesn't really affect any other surface is just this corner. That's all I really wanted to do. I think that's looking pretty good now. Okay, now we've got this corner lit. Again, we can revisit that at any time, change the power. We could change the color of that light if we want. But for now, I'll go ahead and leave that. But the next thing I want to do is go ahead and create some lighting in this cabinet. I think, first of all, let's go back to layout here like this. Let's go ahead and find that cabinet. Here we go. Maybe let's go ahead and grab these doors, and let's press H and hide those. And let's select maybe these edges here, and let's re center on that. So let's right click. And let's go ahead and set the origin to the geometry. There we go. Let's bring the cursor to that now, so let's press Shift S and cursor to the selected. And let's go ahead and bring an object in now, let's press Shift A, and let's just go ahead and bring in a cube. Okay, so let's go ahead and scale that cube down. Let's press S and go ahead and scale that cube down quite a lot like this. Let's take that down on the Z axis, and let's bring that forward now on the Y axis like this. Okay, let's go ahead and scale it down some more on the Y, S in Y and bring this down to something like this. And let's scale it down Z S and Z and just bring that to something like this. Let's fix the scale. Let's press Control A and apply rotation and scale. And now let's tap into Edit mode with it. Okay, let's just select maybe this edge here. Let's press three so I can select faces, sorry. Let's select this face, and just go ahead and pull that over now in the X until it sort of drops into that side like this and now pull it back until it just pops out again. And let's do the same with this. Why's grab this face, pull this over, and just put that into the surface and then pull it back a little bit like that. Okay, let's press A, so we select all, and let's go ahead and pull that down the z axis now so it berries nicely and then pull it up a little bit again like that. Okay, so let's tap out of Edit mode with that. And let's go ahead and press Alt D and Z and bring a copy up now and put that in the top. And let's go ahead and put that just like that. There we go. Okay, so now we need to make some copies of this, but because I'm going to rotate it and scale it, I'm going to make some separate copies. So I'm going to press Shift D and Z and bring your copy down like this. And now I'm going to right click and go ahead and reset the origin to the geometry. And now let's go ahead and rotate that in the Y axis. So let's press Y, 90, enter. And let's go ahead and pull that over now and put this just in place like this here now. Put that in the wall until it's just sticking out a little bit. Like like that, I'd say. Okay, so let's tap into Edit mode with that one, and let's go ahead and select the end here. And let's take that down and just take that up to the corner until it meets the other one like this. There we go. And we can't see here, so let's press, and let's go into wire frame. Let's go ahead and select the end like this and pull this up like this. And let's press and go back to solid mode now. And let's go ahead and just bring that now into the corner like this. There we go. That's cool. Let's tap out of Edit mode with that. And let's go ahead and press No, we can press Alt actually, let's press Alt D and X, and bring a copy over like this and put that now in the opposite side here like this. Okay, let's bury that in this side. Put that nicely in position. And there we go. That's cool. Okay, so I think the next thing we want to do is use the whole Boolean tool. So let's do that. So let's select the main carcass here, and let's check the scale on that, and it's all good. Let's go to the AD modifier, and let's hit Degenerate and let's go down to Boolean. And let's grab our eyedropper and maybe just put that on this one here like this. Let's find this component. Where is it? It's right here and go hide it for a moment and make sure that booleans worked and it has. So let's bring that back. And let's go back to this one and go ahead and apply that modifier. There we go. Okay, let's grab it again. Add modifier, generate and boolean. And let's grab our little dropper and go ahead and hit this one now like this. Let's go ahead and hide this one. So let's find it. Here it is, and go ahead and hide it. Check that it's worked. It has, select this and go ahead and apply. Okay, let's bring back that one. And let's go to the top. And let's select this. And sorry, let's select the main carcass, and let's add modifier, boolean, grab our little dropper, and just go ahead and select that top one like that. And again, we can go ahead and hide it, and it's worked, so let's go ahead and apply that boolean. And let's go ahead and do the last one here now. Let's select this side, add modifier, boolean, and go ahead and grab our dropper and go ahead and put it on this one here and I like this. I think I'm just going to go ahead and assume that one's work because I can't see why it wouldn't cause the others have. So I'll go ahead and apply that. Okay, so now that we've done that, believe it or not, the next thing we can go ahead and do is just go ahead and delete these objects. They were just there basically as cutters to create that groove for our lights. So let's go ahead and grab this one. And finally, let's go ahead and grab the bottom one and take that out, as well. Okay, so now that we've done that, I think the next thing we can do is we're going to bring in an area light. Let's go ahead, maybe just select this piece here or maybe this piece here. Let's go ahead and press shifts and bring the cursor to the selected. So we have a reasonably central position, and let's press Shift A, and let's bring in an area light, and there we go. Let's take it down a little bit like this. And let's go ahead and take it forward. And let's press seven, so we see it from above, and let's go into wire frame. And let's have a look at this and see what we're going to do. So let's go ahead and press S and Y and go ahead and scale this down and bring this into position in that groove, which I think is right there. So I'll press S and Y again and go ahead and bring this down so it drops in this groove. Something like that. Okay, the next thing we want to do is scale it up in the X. Let's press S and X and go ahead and just scale that up to something like that. And that should be fine. I think I accidentally scaled it down the Y, so I'll just go ahead and increase that. And there we go. That's cool. So let's go ahead and bring that down now on the z axis. Maybe let's go back into solid mode for a moment and see where that is. Bring that up and just go ahead and drop that imposition now. Like that. That's cool. So maybe let's go back to rendered view now so we can see that. And see how it looks. And that's cool. Because up until now, we've not really used area lights visible in our scene. But there's a slender little light like that, I think it'll be absolutely fine. We could actually just go to the light properties and put a bit of color in that, maybe. Add a bit of warmth to that. There we go. That's cool. And maybe I'll leave that ten watts or bring it down a little bit to something like that. So let's go ahead and make a copy of that now. So let's press Alt D and Z and take a copy up like this. And let's go ahead and put that in the top groove at the very top. And just put that in the other groove. Just like that. That's cool. So, now that we've done that, let's go ahead and make another copy. Let's press Alt D and Z and pull that down like this. Let's rotate that on the y axis. Let's press Y, 90, Enter. And let's go ahead and take that back now like this and put that in position as we need it. So something like maybe just try rotating that, maybe. Let's try that. Let's press z, 180, and there we go. That's got it. Okay, so let's do one more. Let's just bring that down a little bit. So let's press G and Z, and just try pulling that down, something like that. There we go. And now let's bring a copy to the other side. So let's press Alt D and X and bring that over like this and take a copy now to the other side. And put that light, as well, inside the groove where it needs to be. And let's go ahead and rotate that light. Let's press R, z180, Enter, and there we go. That's cool. So now we've got complete lighting all the way around our cabinet, and I think that'll be really effective. Okay, so let's go ahead and bring the doors back now. So let's press Alt H and hide everything, and there we go. So at the moment, we can kind of see that the lights are on behind that cabinet, but don't worry. When we start doing our renders, I'm going to show you how to animate this so that the lights will turn on and off as these doors are open. So these lights will be off when the doors are closed, and they'll only turn on as the doors start to open. How cool would that be? All right, thanks very much. And I'll see you in the next one. Bye, Finn. Oh, let's do a save. Let's do a save. Let's press Control S and save our progress. And I'll see you in the next lecture. Bye Bye Finn. 79. Lecture 78 Parenting Objects: Hello, and welcome now to Lecture 79. And yeah, we're back on an empty screen, eh. Again, don't panic. We're not starting right from the start. I just want to talk to you about parenting and what that means in blender, and just show you a basic example of how panting works. So let's just go ahead and get rid of the splash screen. And what shall we bring in? We need to bring in an object. It can be anything, really. Let's press shift, eh, and what shall we bring in? Um, well, let's bring in Susan. Let's bring in the monkey. And let's bring this one up like this. And maybe now let's make a copy. Let's press Shift and Z and bring one down like this. Maybe take this one up a little bit, and maybe go ahead and scale this one down at something like that, maybe just take that over now, something like this. Let's press shifty and X and bring a copy over to the other side. And oh, let's do that again. Let's press shifty and Y and take a copy back and bring that one something like to the middle. Nothing too precise. And let's go ahead and do that one last time, shifty and Y and bring one forward like this. There we go. So we got four small monkeys, and we've got one large one, and that's what I want. So parenting, what is it? Let's set it up first, and then me just showing you what it does is the easiest way to explain it. So what I'm going to do is go ahead and select all our small monkeys first, the children. And then I'm going to go ahead last. I'm going to select the big one, the parent. And you can see the order in which I've selected the shows because all these ones are now orange, and then this one is yellow. Meaning, this was the last one that was selected, so priority will be given to this one. Once we've done that, go ahead and press Control P, and you'll get the parent command app. And let's go ahead and set parent to object, but keep the transforms. Meaning keeping all the positions set to go ahead and do that. And instantly you get these lines appearing, which they don't panic. They'll never appear in a finish render, but they're called relationship lines. And it basically means that these children have a relationship to the parent, and that's what these lines are indicating that there is a relationship between these objects. And now that we've actually set the parent as this one, if we go ahead and move it, the children follow. There we go. It's as simple as that. That is basically what parenting is. If I move a child, the parent doesn't follow. If I scale a child, the parent doesn't change scale because the children can't make the parent do something, but the parent can make the children do. So if I go ahead and scale the children, the parents sorry, then the children scale up as well. If I rotate the parent Az, then the children will also spin. So the parent has control over the children, but the children don't have any control over the parent. And there we go. That's the simplest way of explaining what parenting is. Alright, so now let's go ahead and go back to our main sort of projects. I'll just go ahead and delete this. And let's go ahead and apply that now to our sort of objects in our scene. So the objects they want to do this with are one, our little pop up here so that we can animate that. The other one is our drawer here, and then the third one is our handles on our larder cabinet here because we're going to animate these three things. We're going to animate this one. We're going to show the doors opening, and we're going to go ahead and animate animate this one, and we're going to animate that one, too. So let's do this. So I think let's start with the easier. Let's start with this. So let's go ahead and select the plugs and the base. So we've got those items selected. Now, select the top, so the top has priority, and now press Control P, and Object keep transforms, and there we go. So if we actually grab this now and lower this, everything else will lower nicely with it. And vice versa. If we raise it up, then everything will raise up with it, and there we go. So that is ready now when we are ready to animate. Let's just check that we've got that in a nice finished position, and, yeah, that's absolutely fine. So let's do the same with the draw now. So I guess the best way to do that would be to let's get rid of the worktops. Let's hide those so we can see our draw. Okay, so let's go ahead and select all of the draw this time. Let's select the back and the front and the sides. Let's select the base. Let's select this one and this one and these little dividers. Let's select the draw face. And finally, let's select the handle so the handle will be the parent. And once we've done that, let's press Control P, and let's set parent, but keep transforms, and there we go. So let's go ahead and move the handle now, and then the drawer will come out nicely. Look at that. That's perfect. So, in this case, I'm just going to press Control to let that go back to its finish place. And there we go, so that's done. So now that we've done that, maybe we could bring back our worktops. Let's find the cabinets folder. And let's go ahead and find our worktops there they are and go turn those back on, and there we go. That's cool. Okay, so we've got the last one to do, which is our tall cabinets here, so let's go ahead and do something with those. And I think, first of all, let's press, and let's go to solid mode for a moment, just so we can see easily what we're doing. And let's go ahead and select these two doors, and let's hit the forward slash to. Actually, let's select the handles, as well. Sorry, folks. And now we've got the handles in the doors. Let's hit the forward slash bring those back. Alright, so there's a little bit more involved with these with the parenting, but not much, don't worry. So with the animation with this one, these doors are going to rotate from the pivot point, and then they're gonna slide back into the pockets on the larder. And you'll kind of see that in action when we get to it. So we need to set a pivot point right here as it is. So let's go ahead and tap into Edit mode with this one. And it looks like the origins right now is already in the right place. But actually, I'm going to assume that I'm going to right click on this and set the origin to the geometry and put that back in the middle just in case you weren't in the same place as me. So now we're starting with the origin in the middle of the door. Let's press seven to see this from above, and let's have a look at this, whereas it's right here. And let's go ahead and reposition our cursor. So I'm just going to go over to this one. Here, click on this. And now position my cursor where I want it, which is about there, and then left click to position that cursor. And now I'll go back to the move. Okay, so now that I've done that, I'll go ahead and right click on this door and set the origin to the three D cursor. And now that door if we rotate that door, it will rotate on that pivot point. If I press RNs and rotate, you can see now it's rotating on that pivot point, not before where it would have rotated from the center. So now that I've done that, we've got our pivot point right there, and we have our cursor set to our pivot point too. We can bring in an object at that point. So let's go ahead and press Shift A because I want to bring in a new thing. I want to bring in an empty, and I'm going to bring in a plain axis. So you may be wondering what this is, this is all new to us again, this empty. And what is it? It's basically nothing. That's the best thing to define it as is nothing. That's why it's cold and empty. It doesn't really hold a lot of information. It doesn't have any curves to it because you can't tap into it and select vertices or anything. There's no surfaces, obviously, it's just nothing. Only information actually holds is its own coordinates until you apply things to it. So we're going to use this as the parent, and we're going to set the other objects to this empty. And don't worry. When we render again, this will not be seen in our finish render. So let's select the door. And now let's hold shift and select the handle. And then finally, let's select the empty. And you can see we have it in the right order because the empty is actually yellow. Once we've done that, let's press Control P, and let's object and keep transforms, and there we go. So now if we grab the empty and rotate that on the z, the door follows nicely, and there we go. That's cool. So let's kind of repeat that process on the opposite side now. But this time, the origins, in fact, no. Let's put the origins in the center and do this properly. So I'll right click and set the origins to the geometry to put that back in the middle. And now I'll press seven to see that from above. And let's go ahead and grab the cursor, and let's just position it right there at that point in the door. And now let's go ahead and select the move tool again. And with that done, let's right click and set the origin to the three D cursor. There we go. That's cool. So now let's go ahead and bring in another empty. So let's press Shift A, and let's bring a plain axis empty in. Let's select the door and then the handle, and then finally the parent, and there we go. And now let's press Control P, and let's go ahead and set parent, but keeper transforms. And now, if we go ahead and rotate that on the z, that's turning nicely. There we go. That's cool. So now we've pair in these doors to these empties. So we've done some new tricks in this lecture. Alright, let's hit the forward slash and let's bring everything back. And let's go ahead and go back to our rendered mode. Let's press and go back to rendered. And there we go. So in the next lecture, now that we've kind of done that, I think that's pretty much everything done as far as setting our scene up for animation. All our textes are in place, all our objects are drawn, everything's done. Everything's parented. We have lights in our scene. We're looking really good. So I think the only other thing we need to do is what's known populate our scene. And almost every professional that's working in this kind of industry of archives or anything along those lines, they all just use premade assets. So we're going to do the same. We're going to use blender kit and import premade assets to populate our scene and just add to the whole feel and the realism. Alright, so we'll do that in the next lecture. Let's do a save. Let's press Controls. And I'll see you in the next one. Bye bye for now. 80. Lecture 79 Making The Project Your Own: Hello, and welcome now to Lecture 80. And at this lecture, yeah, let's start bringing in some assets from BlandieEcus me, from Blndqet and start just applying them to our scene and just make things look real good. But before we do that, I just for a second, want to talk about file sizes and make sure that we sort of consider always the sizes of the files that we're bringing in before we import the assets. So just come over to this tab here and just click on Blender kit on the side here and come down to import method. And here, it says, Max resolution. Just go ahead and click on that. And here you can adjust the size of the file of the assets you import. You can go up and down on this. And I kind of do that. Consider where the item is in the scene. Is it sort of front and center, or is it way off in the distance? Is it a tree that's way off in the distance, or is it a tin in a cupboard that'll barely be seen or a glass that's way up on the top shelf or a wine bottle in the wine rack? If it's those kind of items, then I'm going to bring in low, I'm going to bring in at 5:12 by 512 to keep the file sizes down and keep the VRAM, the video random access memory low for your GPU. If I'm doing something front and center, if I'm doing the dining table here, then I'm going to up that. I'm going to consider it and up that to maybe a 1024 or a 2048 by 2048. I don't generally go much above that. I don't find any huge advantage going above that. And also, your files are going to get whopping, you know. So yeah, just consider before you import any assets, what size file are you going to do that in. Alright, so let's crack on. So I think the main one or the most important one really is a dining table to put in front of a huge window here, so bifolding door. So let's do that first. So come on over here to your blender kit and just click on this. And then let's put in a dining table. Alright, click Enter. And sometimes it doesn't come up first time. If it doesn't click on the area and hit Enter again and it'll come up. The next thing you want to do is just come over to this little thing here, the filters tab, hit this and go free first, there we go. And now it's just simply a case of finding a table, which you like. So if you want more information, just go ahead, right click on it, and it'll give you more information. I'll tell you the resolution of it and the overall size of it. So this one's 12 megabytes and it's got ten stars. So let's see if we can find another one and see what there is. And see, I quite like this one, 'cause I think with all the traditional stuff that we have in our scene, it would be something it'd be nice to have something quite contemporary, and the chairs around it are quite traditional, anyway. So I think that might be quite nice. But see what else we've got. We've got this one here, and we've got this quite traditional one here. And what else have we got that one there? Different ones, really. So just hunt around and see what you can find. Large table there. Um yeah, just look around, really. And what else have we got? We got this very traditional table, and that's a nice set, that one there. Um, let's just do one more click and see if there's anything nice. That's quite nice and quite contemporary. And yeah, I mean, I could keep on going really and just keep on finding there's quite a few of these. But I think what I'm going to do is go back to the very first one and have a look at that. I think I like this one here. So what I'm going to do is go ahead and right click on it again. And so it's 26 megabytes, so that's not too bad for a large table with chairs. So just come down to here and click and drag now into the scene like this, and it'll set it nicely on the floor for you like that, and let's see how that looks. And we do have in the middle of this, you can see this little line here, and this is an empty. So again, now we're going back to parenting. So all these other objects have been parented to this, which is very common within blender kit. So with the actual empty selected, let's press Z, 90, Enter. And I'm going to just go ahead and position this where I like it and try and figure out where that is. So that's quite nice, obviously, directly in front of that window and the shadows are kind of falling on it. Am I happy with the scale, having a look at it in relation to the kitchen? And I think it's a little small. So I've still got this empty selected, so I'm going to press S, and just go ahead and scale this up a little bit to something like that. And just looking at the height of the table in relation to the kitchen tops, this what I'm doing. And there we go, Oh, I think that's pretty cool now. I think I'm liking that. And I think I'm going to leave that in place. I think that actually quite complements the rest of the kitchen. I think I'm quite pleased with that. So, what else do we want to do? What's something else that would make this scene pop? So obviously we need some wine bottles in our wine rack here, and we need also something in this alcove here on the shelves. And we need maybe some stools around our table here, and we need a few things to populate our worktops just to sort of dress those. And we also need things in our larder. In fact, that'll be a good one. Let's go ahead and find a microwave and put it in the larder. So I'll just go ahead and grab these doors, and I'll press H and hide those. And let's go ahead and look for a microwave now. Let's click here, Delete this, and let's start typing microwave. And go ahead and click Enter and see what we get. Again, let's make sure that we're on free ones, and that's quite nice. Maybe I'll right click on that and have a look. And it's 25 megabytes, and it's got a ten star rating, and it's got a one K resolution. I think that'll be absolutely fine. So again, I'm going to click and drag and just drop that now on that shelf there like that. Okay, so maybe I'll just grab the empty for this. And I'll press S and just start scaling this down until it kind of fits where I want it. And maybe bring it forward a little bit on the Y axis like this, maybe scale it down a bit more. I'll press S, and maybe now just take a minute just to try and scale this up and fit this in there as I want it. So I'm going to scale it down in the X. I'm gonna press S and X, and just scale this down this way. Maybe move this over a little bit and scale it up in the z. So I'll press S and Z and just take it up a tiny bit, and there we go, that's cool. So now we have a microwave in our larder cabinet. I think the rest of the lard cabinet, I'll just put things like cups and bowls and plates and maybe some cereals or some pastas and maybe a coffee maker or something down here. But I'll kind of just do that as I go. Alright, so where else can we put something? Let's have a look for a wine bottle. That'd be something quite handy, I think. So let's go ahead and maybe just click on this, and let's put wine bottle. Click Enter. And let's see what we get. It's taking a minute. If it takes a minute, just select it and just hit Enter again, and it usually sort itself out, but it has this time, anyway. And let's find a wine bottle. So maybe I'll select this one. Right click and have a look at it. It's two K. It's 5 megabytes. It's very small. It's got five star rating. Let's see if we can find something else. Maybe let's right click on this one. And it's two K, and it's got nine stars. And to be honest, we're really not going to see much of these, so that would probably be fine. So I think I'm just going to go ahead and drag that into the scene. So I'll come to this click and drag from here and go ahead and just put that into the scene. Something like I think I'm going to have to manually position this one. I'll go ahead and put it there like that. And let's go ahead and select it and take it up a little bit. And I think I'll go ahead and scale that up. So, just scale it up a little bit and now take that in on the X axis like this. Let's have a look at that and see how it looks and make sure that's reasonably scented. We don't want perfection here because things are being placed, so they may not necessarily be perfectly scented. So don't always do that. So I'll go ahead and press Shift B because it's running a bit slow, so I'll just go ahead and center over that item, and there we go. So I'll select it again. I just go ahead and take that down and position that where I want. Maybe I'll press S and just go ahead and scale that up, maybe just take that back a little bit in the X axis to something like that. That should be good. So I'll go make some copies of that now, so I'll go ahead and press OTD and Z and go and take one up maybe to the top like this. Let's see how that looks. And actually, it hasn't taken all of it, so I'll go ahead and delete that. And let's try that again. Let's make sure the top is selected and the bottle, and let's press Alt D and Z and go ahead and bring that up now like this. And maybe I'll do another one somewhere, so I'll press Alt D and Z and bring this down now to maybe here like this. And just move that around and make sure it's looking good. And then after, I'll go ahead and bring in a different type of bottle and fill up a few more of these and maybe do it with three different bottles so they're not just constantly repeated with the same bottle. Okay, something I realized I didn't do is I didn't actually let's just compress these, wine bottle, dining table. That's it. Let's create a new group for all of our assets that we're bringing into the scene. So let's click on Scene collection, create a new file, and let's go ahead and find that. It's this one here. Double click this and just call this asset. I click Enter. And let's go ahead and grab the dining table and drop it in that file there like that. Same with the microwave, into assets and wine bottle two into assets. There we go. Let's close that. Let's bring that down now. And there we go. That's cool. So, the other thing we could do actually is these area lights. We need to put that into the lights folder, so let's click on this. And let's go ahead and open it up. And let's just create a new group in this. And let's call this the arder lights. Click Enter. And let's select this four lights here and go ahead and put those into the lard Lights groups like this. And there we go. That's cool. All right, so let's go ahead and compress our lights group again, and let's open up the assets group so we can see what we've got. So we've got our wine bottles in there now, and I'll carry on adding to that. And we've got a microwave and a larder, and we've got a really nice looking dining table. Outside, I'll probably bring another table set out there, maybe some plants. And it sounds silly, but I think in blendit there is actually some weeds, so I might put one or two little weeds just popping up between the brickwork and the edge of the paving. So, what else shall we do? Maybe let's go ahead and bring in something for this alcove here. So I'm going to look for baskets. And click Enter with that and see what we get. And let's see if we can find a nice storage basket to put in those alcoves. Let's see what we go. We've got that one there. That's quite nice. The WIA basket. Oh, we've got this one here as well. This is quite nice. By I'll right click on this. See what we can see. It's large. It's 88 megabytes, so it's quite a large file, but it's got a high rating. It's got ten stars to it. Think I'm going to give that a go and see what it looks like. So I'll go down to the click and drag from here and go ahead and do just that and go ahead and position that just on that shelf, just like that, and see how it looks. Let it take a minute to sort of come in, and let's press Shift B and just re center in this area like this. Yeah, let's go ahead and grab this, and let's press S and go ahead and scale this up, something like this, and then go ahead and reposition that center of that and see if I like it. Got to admit, I'm not keen on that. I'm going to go ahead and delete that one. And I'm going to make sure that assets are selected here, so the files go in there. And let's carry on looking. Maybe it was a little too quick to jump then. So we have this one here. This is quite nice, or we have this one as well. Or this one here. Is there any others? So I think I'm going to go for Is it this one or is there another one? This one, let's have a look at this one. All right, click on this, it's 230 megabytes, so it's a very large file, it's ten stars, and it's eight case, it is big. Always consider that before you go ahead and introduce items. I think in my case, I'm going to give it a go. But again, if you're not comfort about bringing in big items, obviously it's going to increase the size of your file and it's going to increase the time for rendering as well. It's a balancing act, but I'm going to go ahead and bring one in now and see if I can make it work. And let's see what that's going to look like. I need to scale that up, so I'm going to press S and go ahead and scale that up to something like that and re center that and go ahead and take that back now in the X axis like that and see how it looks. Then I'll scale it up a bit in the Z, S and Z. Take that up like that, and there we go. Yes, that's really cool. I'm liking that. So I'll grab this item, and I'll press Alt D and Z and just take a copy up now and just drop that there like that. I'll do the same again. I'll press Alt D and Z and take it up. And remember, I'm using Old D so that I copy all the properties of each item, which will reduce the file sizes. I think let's go ahead and grab all three of those and pull those forward a little bit, so they just stick out a bit more. And I think I'll do one more, and I'll leave the bottom empty, so I'll grab this one here, and I'll go ahead and press Alt D and Z and maybe bring this one down to this shelf here like this. Maybe just bring it down a little bit more. And there we go. That's cool. Just check that these are all sitting on the shelves. This one, maybe I'll take down a little bit. There we go. That's good. And then this one, too, maybe I'll take that down a little bit more like that. Okay, that's looking good. I'm liking that. So is there anything else? I mean, there's lots, really. I need to populate this cabinet here, and we need some stuff here. We need the chairs, maybe around this table. Maybe I'll do that. So let's look for bar stools. I think that'll be the right term for these. Let's type in bar stools. Act like Enter and see what we get, and let's just have a look. So we've got a nice simple one like that. That's quite cool. And we have something like that. So we have these nice rustic, sort of metal frame ones, so we have a very traditional one. We have this sort of wicker style. That's quite cool. And I'm not keen on that. We have these ones. And it's very personal tasting, isn't it? Now at this stage. This is when you really get to call call, you project your own with this. Let's see what we can find. We've got that. Industrial pub store. We have this one here, workshop store. So let's see what we can find. They're quite nice. A bar chair. Um, we have this one here. They're quite nice, too, and they're sort of matching the color with sort of the top. No, actually, I'm not told on that. So just take a while, really, to find something that suits what you want. And I think I'm going to try maybe something like this, maybe. Yeah, let's right click on this and have a look at the file. So it's got eight stars. That's respectable, and it has a very small file size, so I'm going to go ahead and bring that in. So I'll drag that in and just go ahead and put that on the floor now like that and see how it looks. And maybe just grab it here by it's empty and go ahead and rotate that on the z and just swing that around until it's kind of facing the project like that. And do I like it? You know what? I don't think I do. I'm going to press delete on that item. And let's try that again. It was just I need more height on the batool I think. So maybe this one. Let's have a look at this. Let's right click on this one, and let's have a look at it. It's two K, and it's 55 megabytes. I'm going to give that again. I'll bring that into the scene and put something like that and see how it looks. And I think that's more that's more suited to what we're doing. I'll maybe bring this in like this. Let's press Z and go ahead and rotate that. Whoops. To something like that, and pull that back a little bit on the X axis. And yeah, I won't set that perfectly table. I'll leave it out slightly like that. And I'll make a copy of that. So I'll press Alt D and Y and bring a copy over now like this and rotate that on the Z axis. Let's press R and Z and go ahead and bring that in now, like that. Let's just check it. That's not touching anything. And there we go. Yeah, that's much better. I'm liking that. Let's go ahead and delete this. Somehow, I've got this sitting here like this, so let's go ahead and get rid of that. And there we go. So we've got a bastool here, we've got the WIA baskets. And yeah, there we go. So this one here, I think that's leftover from the one that I didn't like, so I'll go ahead and delete that item, and there we go. So we have these items brought into our scene. So there we go. I'm going to carry on doing this, and I suggest you do the same, really, and it is a very personal thing. The considerations are how powerful is your computer, how large are you making the files, and the aesthetics of it all, of course, personal choice and what you're doing. Okay, so I'll see you in the next lecture when I will have finished populating my scene with everything else, things on the worktops, chopping boards, knives, maybe some nice food and the larder and some extra wine bottles and some paintings on the wall, something outside, maybe a table and some potplants. And I think I'm going to put some sort of heater here on this wall, we call it in the UK a radiator, so I'm going to put something like that on this wall here. Alright, so I'm gonna save my progress, so I'm going to go ahead and press Control this. And I'll see you in the next lecture. Thanks very much. Bye bye for now. 81. Lecture 80 Ambient Occlusion: Hello and welcome to Lecture 81. And yeah, I mean, oh, it's just awesome, isn't it? I love it. I love Blender, and I love what we do with Blender. It's just so much fun. So this is where I'm at now after importing my assets. And please do share images of what you guys have done with your project, but this is where I'm kind of at. So in the larder, I've got a microwave mixer, air fryer, lots of glasses and some bowls and stuff. And outside, I've got a little table and a barbecue and some firewood. I thought that kind of finishes things off nicely. And I've got this well, you know the table. You know we sort of brought that in, and I've got this radiator here on the back wall, and I've got pictures here as well. And what else have I got? It's I'm like a kid in a candy shop, you know, just showing you all the things I've got. And, um, bread on the counter, you know, nice, freshly baked bread and some coffee, make the kitchen really nice and welcoming. And just got some ornaments and some plant pots on the walls, and I've got a great big clock on the fireplace there, above above the ga. And here in the corner, sorry, I'm moving around a lot till I get to this stuff. I've got a kind of coffee making corner, so I've got some cups, and I've got a coffee maker and some tins with coffee and sugar and cookies and all that kind of stuff. So, yeah, that's my scene. I brought in some more wine bottles as well. I haven't filled them all up, but sort of just left it like that to give the general impression. I'm really chuffed with this. I think it's looking great, isn't it? It's, I love it. Love what we do with Blender. It's just great fun. I'll calm down. I'll calm myself down. Come on. Take a breath, take a breath. All right. So what's next? Now I've had a good rant about how good Blender is. What are we going to do next? So I want to just do one final thing on texturing, just to share it with you more than anything else, because it's a great little texture node that can just add a little bit more realism to things. So let's go ahead and do that. So let's go over to the shading to. And I just need to go back to rendered mode, so go ahead and click on that and bear with my computer while it sort of applies all the textures, and there we go. And I'll just pan around because I want to sort of apply it to these amazing looking timber columns. I mean, they look great. But I think we can do a little bit more to add to the realism. So what I want to do is just select it like that so we can see texture nodes, and I want to bring in another node. I want to bring in an Ambient Occlusion node, which will apply more dark areas to these beams. So I'll press Chef and I'll search for the Ambient Occlusion node. And if you haven't got it there, just go ahead and type it. And I need a color amper node. So let's press Shift A and search for a color amper node, bring that in like that. And so we need to blend the color from these two into this one. But obviously, we still need to plug in our principal BSDF let's bring in a mix shader. So let's press Shift A again and search for a mix shader. And bring that in, too, and I'll just move over the material output a little bit, and I'll go ahead and plug the principal BSDF into the lower slot on our mix shader. Then go ahead and plug that back in now to the material output. So I'm going to plug the color from our Ambient Occlusion into the fac on our color ramp, go ahead and plug the color from the color ramp into the fac on the mix shader and there we go. So maybe just move these up a little bit. There we go, do that. And I think there's one more node I can bring in, so I press Shift A and go ahead and search for a diffuse BSDF and I'll bring that into. And I'll go ahead and plug that into a top color here like this. And after we've done that, let's have a play around with that. So first of all, let's go ahead and just increase the distance on the color and see what we get. And let's just add a little bit of colour to that. And now I'll start to get a little bit of darkness coming in, I think. I'll bring that down a little bit like that. Maybe you bring the whiteness down a little bit. There we go. And now we're starting to get hopefully some sort of shading in the corners and shading maybe at the bottom. We can see that, but it's currently the wrong color. So that's because, sorry just struggling to get the angle. We need to apply a little bit of color to this diffuse. I'll go ahead and click on that and just bring that down into the dark now like this to put a little bit of grime on the bottom, now, like that. That's cool. That's the effect that I'm after because I don't think the beam would be one color. Sorry, this column wouldn't be the same color top to bottom. So I think the base would be a little bit darker naturally, from things rubbing against it, maybe they've got a dog or something or yeah, it just would be a little bit darker. So we can apply we can change the distance here and just take more into the dark or just keep that balance, something like that. So we've got a little bit at the top and quite a bit at the bottom. And I think that's working. That's adding a nice little detail to it. We can go ahead and just the color ramp and just tweak the amount of darkness that we see there because I want it to be quite subtle. There we go. And how is that? That's looking pretty good, I think. I think I'm liking that now. That's a better beam. I think that's looking better now with that. So let's go ahead and apply that to that. So to do that. I can just select it. And I can go ahead and select these nodes that we've just brought in, and I'm just going to hold in Control and press C for copy. And I'm going to select this one here and I'm going to press Control V and bring those in like that. I'll select them. And I'll press G, and just move those more into position. Let's drag the material output over like this, and let's go ahead and plug that into the bottom of the mixed shader and then go ahead and plug this back now into the material output. And now, as well, that's been applied to our other column here. That's cool. So I think because we alter deed the ones, that's automatically been applied to those. I think I'm going to do this as well outside with these paving stones. They're looking a little bit blurt, you know, a little bit. There's no variation in there. So let's select those, and let's press Control V again and bring that copy in. Let's press G and just move that around a little bit. Sorry, my explanation was terrible then, wasn't it? A little bit blat. Sorry. A little bit blur. I must learn to do better than that. So material output, let's pull that over like this. And let's go ahead and unplug this from the surface, push that into the bottom, one of them shade it, and then go ahead and plug that back in like that. Here on the color diffuse, let's bring that quite far into the dark, into the black there. And let's go ahead and increase the samples. And let's go ahead and increase the distance, and let's go ahead and just up the sort of the darkness on the mix ramp there. And now we've got a bit more going on, I think. Now it's sort of There we go. Now it's coming in. Now we've got a slightly bit more sort of shadow and shading on that. Took a moment for the graphics card, so I catch up then, but there we Okay, so now what do we want to do? Let's just see that come back in again. And my graphics card is just lagging a little bit there. It's nothing to do with the texture itself. All right, so now what are we going to do? Maybe let's just go ahead and do the same on this one. So I'll go ahead and press Control V and bring a copy in like this and maybe just grab all of them and press G and move it over a little bit, grab this one, and go ahead and unplug the principal BSDF and go ahead and put that in the bottom of the mixed shader and then go ahead and plug that back into the top. And again, let's go ahead and just bring this into the dark. And we can see that's helping with the capping quite nicely. We've got some extra darkness between them, and we can go ahead and slide the color ramp over just to increase that a little bit more like that. And if we wanted to, we can go ahead and increase the samples, just to increase a little bit more and increase the distance, as well. And there we go. I think that's helping a little bit there as well. Maybe just bring down that distance. It is subtle. There's no dead there, but I think it does help. There we go. So we've got some darkness now between these, yeah, that's looking better. Alright, so I think there's one other place I might play around with this, actually, if I can get inside my kitchen. I'm just going to try. This is brave, but I'm going to try applying it to the cabinets and see if it sort of creates a little bit of extra shadow there. So I'll select these next, the cabinet material, and I'll press Control V and bring those in like that. And if we don't like them, I'll just unplug them again. It's not really a big deal. Let's press G and just bring those over, grab the material out, but pull that over, and go ahead and plug this into the bottom of the mix shader and go ahead and plug that into the top here like this. And let's have a look at that. So yeah, I mean, it's definitely adding some more shadowing to the cabinets. I can definitely see that that's happening. Do I like it? Shall I leave it? Let's just pan around and have a look at our scene from different angles. And yes, I think I do. I do like the extra sort of shadows that that's creating on the cabinets. Again, if you wanted to, we can kind of just play around with that, bring that down or take it up. It's completely up to us what we do. Bring it down to an extreme for a second. You can see the shadows, but that's now appearing more like grunge. And I definitely don't want this to appear grungy, so let's go ahead and bring this back up again. And just keep that sort of there. Eel apply a little bit of light gray shading to some of these edges. And there we go. I think that is helping a little bit. Okay, so I think that was just a nice little finish to our textures. It's up to you if you use it or not. It's called the Ambient Occlusion note, and I've shown you how to set it up, but it's completely up to you if you want to use it. Okay, so in the next lecture, let's get on and do some renders. Let's go ahead and do our First of all, we're going to do our still renders. So I'll go ahead and show you how to set up a camera in the next lecture and go ahead and show you how to set up a still render. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 82. Lecture 81 Still Renders: Hello, and welcome out to Lecture 82. And, yeah, I mean, let's go ahead and do some really cool looking renders. Let's go ahead and do that with this lecture. And I think the best thing I can say about rendering is is think of it as simply photography. We have to sort of compose the shot. That's that's the most important thing with rendering is just composing an icy image, just formatting the image so that it's just looking great. So we have some background, some foreground. We have some pieces of interest in there. We have shadows. We have lights. We have all those things. Okay, so let's go ahead and do it. So I think the first thing I want to do is just come over to the outliner, and if you remember, way back at the start of the course, we had a reference file, didn't we? We had reference images, and we had a reference cube, and they're right here. I can go ahead and turn them on for a second. So they've been hidden for a long time. And you can see right now the cube is back in the scene because we've got no light from the HDRI. Because the cube is blocking out the light from that. Now, if we go ahead and render light with the reference images hidden in the final render, they will be seen again. So we don't want that, obviously. So come over to here, and where you see this little camera icon, go and click on that. And now that file there, the reference images and the reference cube will not be seen in the final render. And there we go. Alright, so the next thing I want to do is go ahead and split the screen up, so let's go ahead and do that. So come on down to the bottom corner here and just come close to the corner. And when the cursor turns to across, hold down the left mouse button and go ahead and slowly drag another window across to something like that. Okay, so what I want to do is in this one, I want a plan view in wireframe mode to be able to see the camera from above and just position it easily, and this one is going to be the view from the camera so we can compose our image. So on this one, we can go ahead and press M. We don't really need to see that tab, we can go ahead and press seven to get the orthographic view and press Z, and we'll go into Wireframe. Okay, next, let's go ahead and bring in a camera. Go ahead and select scene collection, so it comes in at the top or comes into this file. Now let's go ahead and press Shift A, and let's go ahead and bring in a camera. And there we go. That's cool. For some reason, it's pointing down, but that's not an issue. So let's press x90 Enter, let's go ahead and bring this up in a Y axis like this. Okay, so now, how are we going to see through the camera? It's real easy. Just simply press zero on your num pad, and now you'll get the bird's eye view from the camera. But right now, if I go ahead and rotate, I rotate in the viewport. If I rotate, I lose the camera view straightaway. So I need to be able to lock the camera view in the viewport. So I'll press zero again, so I see that like that. And what I'm going to do here is in this tab, make sure that you're in view like this and go ahead and lock the three D to cursor and camera to view. But don't lock the rotation. Otherwise, you can't turn anything. Okay, so now that we've done that, we can come over here to this one and we can simply position our camera. So I'll move it over like this and maybe move it to the corner here like this. And I'm going to press R, and I'm just going to rotate this camera. So I'm watching both view puts, I'm watching the final image and seeing what that's looking like, and I'm watching the camera as well as I'm positioning that and moving it. So I'll take it back a little bit into the corner to get their sort of maximum angle. Just keep on pulling that back until we don't want it clipping out, obviously, but we do want the camera back as far as we can into the corner, maybe bring it forward a little bit. And there we go. That's cool. I'm going to press N so we can hide that tab to get sort of a nice view. And now we can go ahead and set some settings on our camera itself. But in fact, before we do that, there's a few things we could do we doing. We could do with for now, turning the lights off in our larder cabinet. So let's go ahead and just click on this one here, find the larder lights, and just go ahead and turn those off. And also, I think we'll go ahead and hide those in the render scene for now. There we go. We also need to bring those doors back, so let's press ALTH and just go ahead and bring those doors back into the scene, and there we go. So let's go find our camera settings down here now and go ahead and click on this. And here we have the focal length of our lens, just like a traditional SLR camera. At the moment, we got 50 mil viewpot. So if we go ahead, maybe just bring that down, typically, a nice standard is around 35 mil. With photographers as well, a 35 mile lens is a kind of standard view. I think I may have read somewhere that 35 mil is about a human eye view, too. That's what we typically see in so now we've done that, let's go ahead and click on this again now. And I'm just going to go ahead and rotate that camera just to get the scene that I want, and maybe I'll just take that back a little bit more now and just see where the maximum view is that I can get maybe bring it over a little bit more. Just play around with composing your image. Really just take your time and get that perfect shot. So what am I looking for? I'm looking for a little bit of the view. I'm looking for our beautiful kitchen island, and I'm also looking to see the kitchen. So I think I'm going to go ahead and reduce our focal length even more to maybe a 30 mill. Maybe that's nice. Now we've got a little bit of our skylight in the scene. We've got some of our roof work, we've still got our beautiful view, and we're getting some nice angles of the kitchen. Let's try taking this camera over a little bit. And this really is the sort of most important point of rendering is just to compose a beautiful scene. So go ahead, bros. Ah, and just sort of bring that round a little bit, to get a nice amount of the island, get some of our view outside, get our dining table, get it all into the scene. And there we go. Maybe I'll just bring the focal length down a tiny bit more, and there I'm starting to get a little bit of the worktop, which is not enough for you to understand what it is from the pictures point of view. So I'll go ahead and take that forward one, maybe. And there we go. Now we're just clipping out that worktop. Okay, so I think for my first picture, I'm happy with that. I think that's quite nice. So next, let's go ahead and set up our camera the way we want it. So let's come on down a little bit, and I'll just show you some of the features. So we've set our focal length. We've done that. So I've got a 29 millimeter lens on there right now. And here we have our depth of field. So I can click on this. And if I wanted to focus on a certain object, I could go ahead and click on this little thing here and maybe just lock onto our little socket there. And now the camera will be locked on focus on that little thing right there. But I'm going to go ahead and turn that off. I don't really want to use that. And here we have our aperture settings if we did use the depth of field. So then we could go ahead and increase or decrease our F stops. So the higher the number goes, the greater of depth of field we have, which means that there'll be more in focus behind the object that's focused on and more in focus in front if you have a higher aperture. At f28, the say if we focused on that little power socket tower thing, that would be perfectly in focus, but the distance and the foreground would be in a slight blow. So I'm going to go ahead and leave that off so we've got no depth of field set. Okay, so now let's go ahead and set the sort of parameters of our render. So go ahead to the camera sort of icon right here. And first thing I want to do is Blender for some reason. Our standard has its samples really high, and I never know why. And the first thing we're going to do actually is do a test shot before we go ahead and do a full render. So I'm going to bring this down really low. I'm going to bring this down to maybe oh, 200, I'd say, and go ahead and click to run that. So now we have our Max samples of 200. So what are samples? It's a complex subject, and to be honest, from being absolutely honest, I haven't got a full grasp of it. Maybe I shouldn't be that honest, there we go. But samples are basically light paths that are sent out by Blender. Bouncing off surfaces for it to get an idea of where it's going to be casting shadows and what lights will be in our scene. So, the more samples we have, the more realistic our final render will be. But it comes at a price. The more samples you have, the longer render time you will have. I hope that kind of explains it. Like I said, I don't fully understand samples myself. I'm just happy to know that the higher the samples, the higher quality our image will be, but at a cost of render times. So typically, if I'm doing a high end render, I keep my samples at around 1,200, and I've never found a benefit to go much higher. For my test renders, I have at about 200. Okay, so now let's go to this one here to our output properties. And we now need to look at the resolution of our image. So I think I'm going to start by shooting this in HD quality. So I'm going to click on this one here and I'm going to set this one at HD, so that's 12 and 80 pixels. By delete this by 720, I believe, 720. Go ahead and click enter, and there we go. So now we're set at HD quality. I'm also going to bring the actual quality down to around 50%, as well. Like I said, we're not looking for a perfect render as far as quality. We just need to understand if we've got a nice scene here or not. And now that we've done that, there's nothing else at this stage we need to do. So we are two ways of rendering. We can either come up to here and go ahead and click on render or we can press F 12 on our keyboard. Now, go ahead and do that. And we'll go into Render. A little tip that I would suggest is when you go ahead and do a render, maybe do a save just before you hit Render because it is common for Blender to crash at that stage when you press the render button. And if you are having problems, maybe do this not so much in full rendered mode, but go ahead and do it in sort of normal model mode. And then you can go ahead and click in and out just to sort of view your item. But when you hit render for the final time, if you want to make sure that you're not in your view port in full render mode because you're sort of demanding quite a lot from your computer. Let's go ahead and expand on this and see what we're getting and just see what the final scene is. And there we go. So it's finished rendering. And you can tell it is quite a poor quality image, but we knew it was going to be. It's very pixelated, not particularly focused. But from a point of view, seeing what we've got. Oh, you're happy with the scene. And I am. I'm liking how we've got this. We've got a view of our beautiful sort of mountains. We've got a dining table. We've got an island almost fully set out, and we've got the toll cabinets in the scene. And it's well lit, and we've got some nice reflections on the floor. So I'm liking that, but obviously I'm not going to go and save this one, so I'll go ahead and close that. And now we just need to go ahead and just set this camera up for a final render. So now let's go ahead and set this up for I'm going to do this. We can either do a two K or a four K. So two K is 2048 by 1080, and four K is 3840 by 21 60. So I think I'm going to go ahead and do this at maybe two K, so I'll go ahead and do that 2048. Enter, and here and the y. Let's go ahead and do that. It's 1080. There we go. So that's a two K image. Let's go ahead and make sure we're rendering at 400% now. And let's go back to our render setup now. And in the samples, I'm going to go ahead and take that to 1,200 and go ahead and click Enter on that. And there we go. We're ready to go. So there actually is one more thing I want to be able to set. So I'm going to come down here to performance and make sure that persistent data is turned on. And what that's going to do, it's going to reuse any information that it can now between renders. So that's going to increase the render time or sort of improve the render times, particularly when we get to a stage when we're doing full animations and we've got maybe 100 renders to do. We need to drastically reduce our render times. So that's when persistent data is a big benefit. Okay, so now that we've got that laid out, I'm just going to go ahead and press F 12, and we'll render out our scene. Now, this is gonna take a while. This is probably gonna take I'm gonna estimate around five or 6 minutes for me. So I think what I'm gonna do is go and pause the camera. I'll just pause our recordings for a moment and go make myself a cup of tea, and I'll see you back in just a second. There we go. There's our scene all rendered out. It's looking fantastic. I'm loving it. So, what next? Let's go ahead and save this one. So actually, this one took 4 minutes, 40 seconds for me, so not too bad. So I'll click on Image here and I'll go ahead and click on Save As, and find the file that you want to save your renders in. So I created myself a new file, and I've called it still Renders, so I'll go ahead and click on that. And I'll go ahead and call this image this, so I'll call this image maybe render one and go ahead and save Image As. And there we go. Alright, so let's go ahead and close this window and go back to our Blender scene. So now we can go ahead now maybe compose the camera from a different angle. So now let's go ahead and compose our next scene. So let's just grab our camera. And what I'm going to do is go over here to the transformation properties, and just go ahead and click on this and go back onto Global and maybe just move this camera over now and just figure out where we want to put this next. Maybe just bring this to dead center of the fireplace and press R and go ahead and rotate this a little bit. And I'm just going to maybe just hide this panel here just so we can see what we're doing. And maybe I'm just going to bring the camera down on the Z now, so I'll press G and z. And just bring this down now a little bit, maybe. So we get something like this. Am I happy with that as a scene? I don't think that does much for me. I'm gonna maybe just bring this forward like this and rotate that camera and just see where we want this next one to be. Maybe try bringing that camera this way a little bit. That's quite a nice angle like that. I think I'm quite liking that. Okay, I'm going to go back to Transformation properties and click on Local again, and I just pull the camera back a little bit. I don't think I want the brickwing shot. Maybe something like that is quite nice. We're getting again all these beautiful pine trees here in the distance. We're getting sort of the view of the island from the opposite side, and we're getting some roof details in as well. I think I'm happy with that. So let's go back to our settings on our camera, and let's go ahead and bring the samples back down. So let's bring this back down to maybe a 200 like Enter. And let's go over to our output properties. And let's go ahead and put this now and back into a HD. So let's call this a 12 80. Enter by dolly this, a 720. Enter. And let's reduce the quality down to around 50%. And there we go. Let's see what that's like. So now that we've reduced the quality of this render, let's go ahead and press F 12, and let's render it out. So I'll go ahead and expand on this screen, see what we get. Shall I pause the video for a second? Don't know how long this is gonna take. Is there anything we can talk about? The weather or films or movies. I think I won't bore you. I think I'll just pause this for a second, and I'll see you in a minute. Okay, so I'm back again. And I think I'm happy with the way this is composed. We got these lights here on line. We've got some nice timber work in our scene as well. And we've got the island from the opposite view with this fresh bread and then the coffee ready to go. So yeah, I'm liking this view. So let's go ahead and just close this because we don't need to save this image. And let's go ahead and increase our settings now. So this time, I think I'm going to go for a four K. So this is 380. Click Enter. By let's go ahead and delete that by 21 60. I click Enter on that. Whoops. Let's try that again. 3840, I'm sorry. And there we go. So we got 3840 by 21 60, which is a four k image. Let's go ahead and up the quality to 100%. And let's go back to our renders now, and let's go ahead and put the samples back now at 1,200 and click Enter on that. And there we go. So this is all ready to render. So I'm going to go ahead and press Controls just to save our progress at this stage. And once that's done, I'm going to go ahead and press F 12 and start our and this is going to take a while being a four k image. So I will pause this, and I'll see you back in just a second. Okay, so I'm back. And this one actually did take a while. This one took 16 minutes. But, yeah, I mean, it was a four k image with 1,200 samples. It's quite a high res image, but I'm loving it. I'm loving the scene outside, and I'm loving this island, the way it and I love the way the marble, the light on. It's a really nice scene. I'm really pleased with this one. I'll definitely save this one. I'll go over the image here and I'll click Save As, and we'll make sure that it's in still renders and I'll hit the plus sign to make this two and go ahead and save images. There we go. There's the image saved. I'll go ahead and close this and I'm going to carry on rendering out more stills. And I suggest you do the same. It's quite a personal thing, really, isn't it? It's quite subjective. So find some beautiful angles and go ahead and do test renders and then go ahead and do your final renders. And I'll see you back in the next lecture, and I will have done a few more renders, and I'll show you what I've done. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 83. Lecture 82 Animations Part 1: Hello, and welcome now to Lecture 83. And in this lecture, we're going to start doing some animations. How cool is that? That'll be really good. But before we do that, let's just have a look at the renders that we've produced from the last lecture, so I'm just going to click on my renders. And I'll just go ahead and bring one in, and there we go. So I think we looked at that one together. That's sort of the first one done. And then the next one that one's quite nice. I like this one. And let's have a look at this one. So I did this one as well. And I did this one and this one, and there we go. I think this is one of my favorite ones just here. So how many have I done? I think I've done six renders in total. No, I've done five. And then maybe more after the end of the course. I'll just see how it goes. Okay, so that worked out really nicely. So let's go ahead and close this. And in this lecture, let's go ahead and look at animations. But I just want to say this first of all, so Animating renders within Blender, it is hard work for your computer, and it is hard work for us as well. It's very time consuming, particularly for rendering. So I worked out once. If we go ahead and do, let's say, around 22nd animation, for the average computer, that's going to take around 20 hours of render time. And that's why when you look at the sort of the big blocks buster films out there that using a lot of CGI, you know, the marvel stuff and everything like that. They often use what's called render Farms to do their rendering, which is when they use an outside company with supercomputers just to render the animation. So they'll send files over with the cameras in position A, position B, and then the render farms will take over and do the rendering. But obviously, we don't have those kind of facilities. But I just wanted to say that because it is going to be quite a time consuming part of the course, and it is quite taxing on your computer. But we will go ahead and do it. I love it. I love animating, but it's a personal thing, and also it just depends on the spec of your computer, whether it can sort of do it or not. So yeah, if you choose not to do this sort of the rendered portion of the course, this next sort of two lectures then, I suggest you go and do some more renders and just have a look at those and see what you can do with it. And then we'll go ahead and see you in the last lecture. Alright, so for those who stuck around, let's have a look at doing rendering. So what are we going to do first? I think the first thing we need to do is I'm going to take us out of full rendered mode. I'm going to go ahead and put us in solid view here on this one like this because we're gonna have a lot of screens open now doing a lot of different things. So let's just go down to solid view. And we need to bring in a third screen on the bottom for our timeline, a third viewport. But as the screen set up right now, if I do that, it's going to split our timeline here or here if I bring it in on this side. So for a moment, I'm going to go ahead and delete this viewport here. Then I'm going to bring the timeline in on the bottom, and I'll create another one here again. So to do that, I'll come to view here. Click on this. I'll come down to Aa and I'll go ahead and close area, and there we go. We're down to one viewpoard again. And now I'm going to come down to the bottom here like this. And when the cursor turns into a cross, I'm going to hold down the left mouse button and just drag this up to create a viewport across the bottom like this. Now I'm going to come here again to this corner, and when the cursor turns to across, I'll hold down the left mouse button and drag another view across to about here like this. So now we've got three viewports open on our screen. And this one here, I'll press N to get rid of the tab. Don't really want to see that. And this one, maybe I'll bring this over to reduce this in size as much as possible. Okay, so this one here, I want this to be an orthographic view and wire frame. So let's press Ed and let's go to wireframe and let's press seven to see this from above. And let's go ahead and select the camera. There we go. In this one, this is basically what I want. I want to be able to see what the camera sees so we can see how our animations are going to look. But we can go ahead and lock to three D camera and lock to camera, and there we go. Then here now we need our timeline. Come on down to this tab here, click on this one, and then go ahead up to timeline and bring that in like this. Okay, so let's take a second to look at our timeline. Probably yours, you're looking at 250 here. So if I go to this one, I'll just start where you are, and I'll go ahead and type 250. You don't need to do this and go ahead and click Enter. And there we go. Now, within the timeline, if you just roll a mouse wheel, you'll be able to see more of your timeline to the 250 framework. So what we've got here is, like I said, we've got 250 frames. And basically, each frame represents a single rendering. So if we fill this write up, we will have 250 still renders within our animation. What we have here is a counter, and this goes across like this. If I take that to the zero, so if I hit this little thing here, it'll go back to the zero. And if I hit the space bar, it'll start coming across like this. And what this represents is we can mark with key frames the position of our object at frame zero to whatever frame we set it. So let's just show you how to sort of set this up some more. So the first thing I do want to do is look at the amount of frames we've got here. Like I said, right now we've got 250 I think that's way too much. For instance, if we've got 250 frames or 250 renderings here, and let's say it takes typically 2 minutes to do that, to do each rendering, we've got 500 minutes of render time to render out this 250 frames of animation. And that's way too much. And we're going to have I'm going to block this into around 4 seconds of animation, but we'll have maybe three or four or five of those five second animations that will then edit together, maybe put a little bit of music in there and make it look nice. So first of all, let's bring down the amount of frames we've got. So come to frame range here, put yourself into output properties and then go down to frame range here and just go ahead and type in here maybe 120 and click Enter. And now that's going to take approximately 240 minutes, let's say, to do this first rendering. And I'll go ahead and roll a mouse wheel now so we can sort of get this to a point where we're happy, maybe just bring it over a little bit like this and there we go so we can see this nicely. Alright, so now that we've done that, let's go ahead and set up our resolution. So we're currently in four K, so that's too much because we need to reduce the quality of our renders now so that we're not sort of taking 10 minutes to do each still render. We need to sort of bring this down. We need to balance a nice looking rendering against the amount of time it's going to take to do our animation. So it's kind of a balance. We need to strike a middle ground on this. So let's bring this down to maybe two k. So let's go ahead and put this at 20:48. Click ends are on that. And here on the Y axis, let's go ahead and put this at 1080 and click ends are on that. And now we're running at a two K resolution. So we've got 120 frames, and we're running on a two K resolution. That's cool. Maybe now let's go over to this one to the Render tab. And we're currently got 1,200 samples per rendering. And here's another thing we need to bring down because that's going to take a long time to render, as well. So we need to bring this number down considerably so that we can bring our renders, each individual render to under 2 minutes. So let's go ahead and click on this. And let's bring this down to I'm going to start at 300. You can bring that down. If you're finding that your renders are taking too long, you can bring you down to a 200 or a 250 and see how that looks. Make sure that denoise is on as well in your render samples here. Scroll down a little bit more to performance and make sure that in this final render the persistent data was turned on. And this is when this will really help us now in our animation because after it starts rendering a sequence, it'll take the information from the previous renders and just automatically apply it, saving us time on the renders. Okay. So we have got our render sets done, so we know we're at 300 samples. We've got an output set up at a two K image, and we've got frames set at 120. So the next thing we need to do is make sure we're saving in the file that we want to save in. So I'm going to go ahead and just click on this so that we can actually just move Blender over a little bit, and I'll just sort of bring this over so that I can bring in my file as well. Just bring this to about here like this. And I'll grab my file, and I'll bring this in too. So I'm sure you've got something similar to this. So this is where I'm keeping all the files for this project. I've got my Blender file just like you. I always have an archive setup. For anything that I've done that I don't want to keep, but I don't want to throw away either, I have an archive. You'll also probably have a HDRI file, and you'll have your reference images and your cereal box and your texture sets as well. I've got a few more because I'm making the courses I go as well, so ignore these other ones. So let's make a new file here. I'll click on you and I'll click on folder, and I'll go ahead and name this and I'll name this anime. And go ahead and click Enter on that, and there we go. So I'll go ahead and double click on this now, and I'm going to create some files within this. So let's go ahead and click on you, and let's click on folder. And let's call this we'll just call this. Let's just call this one, actually. This one, I'll be fine. And let's go ahead and do that again. And I'm going to create three folders on the assumption then to begin with, I'm going to create three different videos. And I'll click on you again, bring another folder, and we'll just call this three. Okay, so we have three folders now to be able to save our animation set into. Now that we've done that, come on down to here now, and here an output, go ahead and click on this little folder. I'll just bring this over a little bit, so it's a bit more readable, there you go. Okay, so go ahead and click on this little folder thing here. And now let's go ahead and find our folder where we've saved our course, where our course project folder is, so it's this one here. Kitchen T two for me. So this is the folder that I have with all my stuff relating to this course. So let's find our anime one, and let's go ahead and click on one like that. And let's call this VD one. And let's go ahead and accept that. There we go. So now, Blender knows where to save our animation file. So I'll go ahead and click on it here. So at the moment, it's empty until we start our animation running. And now we've got that setup. The next thing we need to do, I'm just going to drag this over a little bit, actually. Drag this one over, and I'll just drag this side over so we can see what we're doing. And I'll press N to get rid of the tab. Okay, so the next thing we need to do is position our camera. So let's go ahead and just move our camera over now in the z axis like this. And maybe I'll come over to the top here and set this at global. And let's go ahead and rotate our camera around so we can see the room like this and maybe just move this back into the corner like this and set this camera where I think. I'm going to go ahead and rotate this a little bit like this. And there we go. I'm thinking that's a nice place for the first frame of my animation, something like that. So with the camera still selected, I need to bring in a set of keyframes. So I'm going to press I, and those keyframes have been brought in, and the camera was selected at the times. So those keyframes are for the camera. Okay, so now that we've done that, the next thing we need to do is go ahead and bring I'll counter over to the 120 frame mark like this. And now I'm going to bring the camera over till my final position within this 120 frames, which will be something like that, I'd say. And then I'm going to go ahead and rotate this a little bit like this, maybe bring this back a little bit like this. And there we go, I'm liking that. So now, I'll press I again and bring in a second set of key frames now like that. So I'll hit this little tab here and now to take that back to the beginning, and now I'm going to go ahead and hit Play. And now I can see the camera moving on the left there in our orthographic view, you can see the camera moving across its range within those 120 frames. And, of course, in this viewport, you can see the result. And I think I'm liking that. I think that's looking quite nice. For a first set of frames, that's looking good. I can see the clock on the wall. We see a little bit of the oven. We see the island. I'm liking that. Okay, so I'll hit pause on this. And I'll take this back to the beginning. And for a moment, I'm going to go back to full rendered mode, so I'll go ahead and hit this one like this and just go into full rendered mode. And let's consider this for a minute and just visually see how this looks. So I think my scenes are a little dark. So I think I'm going to cheat a little. I think I'm going to up the light of my HDRI because we can't see any view at the moment, so I think it's okay to do it. So I'll come over to here to world and click on this. And here on strength, I'm just going to go ahead and increase that a little bit to get more ambient light in our scene, maybe take it up to a five like that. And there we go. I think that's maybe okay. Maybe take it even up to a six. And see how we're looking, and that's looking good. And if I sort of do renders where I'm sort of more looking out, then I can consider bringing that down. But for now, I'm going to leave that where it is. So let's go ahead and just roll this timeline across reasonably slowly and just see how this is looking. Are we happy with this animation, how it's going to look? I think I am. I think I'm liking that the way it's looking. Yeah, I'm liking the way it's looking. I'm going to go with that. So I'm going to hit this like on here to take that back to the beginning. And before we go ahead and hit play on this, let's let's just do one last little final check and make sure we got everything where we want it. So our timeline is set. We've done that. We've got our key frames in at our relevant positions. That's done. We've set some light in our scene. Let's go back to solid mode so that when we start rendering, what we're trying to do is avoid a Blender crash because it's common at this stage for Blender to crash. So whenever we can, let's keep this in solid mode at this stage. Let's make sure that our reference file is turned off, both in final render. It is, so that's good. We want that. And here in World, we know, let's go over to render, sorry and make sure that we got samples quite low, so we've got that at 300, so that's all good and make sure that we've got persistent data turned on. And let's go on to output, and we have it saved. We have it in VID one file, and we've got 120, and we're running at two K. Okay, I think we're good to go. But before we press start on this, let's do a save, so I'll press Control S and just save our progress in case we get a sudden crash when we hit render. Now, before we hit F 12 to do a render, but that was to do a still render. Now we're going to start a rolling animation. So to do that, let's press Control F 12 to set Blender animating. And there we go. It's off. It's running. So it's going to take a little while to do this. So I'm going to go ahead and pause for a second until the first render is done. Okay, so I'm back, and it's done its first render, and you can see that it's saved here on our file. So this is our anime one file, and then it's one and we have Vid one in there. So when this is finished, we're going to see 120 of these still renders in this file. And looking at it, it took the last one took 1 minute 49 seconds to do. And this one here, we're looking at a reduced time. We're looking at about 1 minute 30 seconds, I think, something like that. So it is going to be a reduced time for the second file. Okay, so I'm going to carry on with this now. So I'm going to let my computer run out this set of renders. And then after that, I'm going to reposition the camera and then go again. I maybe do maybe two or three animations, and I suggest you do the same. Remember that make your sort of movements relatively short. You don't want to travel more than maybe about 2 meters, let's say in scale, if you know what I mean, of your room, maybe no more than about 2 meters. We've set our frames at 1:20. So your camera needs to if you go ahead and go more than 2 meters, your camera's got to travel a greater distance but still in the same amount of time. So that means that your camera's going to travel faster, if that makes sense. So I always think if you want the camera to travel faster, that you're going to have to increase the amount of frames. I try to go for more sort of smaller movements, maybe some rotations in there, maybe focusing in on some certain objects. So you get some more sort of abstract, slightly ethereal sort of animations. And there we go, so we'll carry on doing this. And then in the next video, let's have a look at, first of all, what we've set up from the previous one, our sort of animation sets. And then let's have a look at animating moving objects within our scene. Alright, thanks very much. And I'll see you in the next one. Bye bye for now. 84. Lecture 83 Animating Moving Objects: Hello, and welcome now to Lecture What are we on? Lecture 84. Between this lecture and the last lecture, I've gone ahead and done some more sets of renders. I've done four in total. So the first one, we actually saw, I think we did this together. I'll go ahead and double click on the first image. And then that was the first image I did. And then the last image, which was frame 120 looks like this. So kind of gone sideways across the room. Then after that, I went ahead and did another one, which was this one here. This was the first frame from this angle like this and then the last frame was this one like this, sweeping the other way across the room, just taking in the whole room sideways. After that, I did the third set. The first one looks like this, low level on a really nice looking stove like this. Then the final frame looked like this. I rose the camera up and then just started swinging it around to take in our beautiful view. And then the last one, I got a bit carried away with the last one. So the last one's number four, and then the first frame looks like this, taking in the sort of the side door here and then the nice looking sink and our storage baskets. I liked these, and then moved along to the last frame, which was basically a complete pan of the room, taking in the sort of the side view here of the mountains and the trees. This is probably my favorite. But it was big. It did take a long time. I've got, I think, 250 frames in this one. So to do that, I had to reduce my samples down to around 200, but it still took a long time, there's no doubt. So there's my four sets of stills ready for animation. Okay, so in this lecture, we're going to do some more of that, but this time, we're going to have moving objects in our sets of renders. So we're going to animate objects moving in our little videos. So we got three to do. We've got the first one, which is our rise and fall socket here. We've got the second one to do, which is our drawer, and then we've got the third one to do, which is our larder doors opening, closing, with the lights turning on. So that should look cool. So where to go first. I think the first place we need to go is, let's grab the camera here, and let's bring the camera over and position that where we want it, which I think I'm going to press R and rotate that camera around and bring this around like this and go ahead and set this. And I'm going to press G and Z and go ahead and bring the camera down now to something like that, and maybe take it back a little bit like this. And there we go, something like that, I think is right. But I think my camera, I'm going to go ahead and click on my camera like this. And the focal length, I'm going to go ahead and bring this down a little bit to maybe 25 millimeters, something like that. And there we go. I think I'm happy with that. Maybe I'll just move the camera over slightly on the Y like this and maybe rotate it around a little bit. And am I happy with that? Maybe take it back a little bit to get in the edge of the table, maybe take it over a little bit like this. And there we go. I think for my first frame, I'm happy with that. I've got the background in, which I'm liking, and I've also got the table in maybe I'll just rotate that a little bit more, actually. So I'll go ahead and press A, and just go ahead and rotate that a little bit more like this and maybe take it over a little bit the Y. Take a minute to compose your images. It's always really good to do that and maybe increase the focal length to something like that, I'd say, should be good. I think I'm happy with that for my first frame. So with that done, let's go ahead and set our first keyframe for the camera. So let's go ahead and press I to bring in our first set of keyframes. So I'm going to leave this at something like 150 frames. So now let's go ahead and bring the counter over now to frame 150 like this. Alright, now that's done, let's go ahead and move the camera. So I'm going to bring it forward a little bit like this. And to just bring sort of the socket tower to the left side, sort of bringing into focus now our bread and our kettle. I'm just going to press En actually, just to get rid of that tab. And I think that's fine like that now. Okay, so with that done, I'm going to go ahead and press I and bring in my second set of keyframes. Alright, let's hit the rewind and take that back to the beginning and let's hit Play and see how that's looking. So this is quite a subtle move because the focus really is going to be on that actual socket tower rising. And there, that's fine. That's all I really want to see from the camera and this one. Okay, so now let's have a look at the camera. Let's hit pause and take that back to the beginning. And I think probably the last time you saw this socket tower, it was in its upper position like this. So I'm just going to rise it up so we're kind of looking at the same view. And now I'm going to go ahead and bring it down again until it's flush with the table. And so if you go ahead and do the same now and sort of bring that socket tower so it's kind of flush. Let's go ahead and press N again, and let's unlock a camera to view for a minute, and let's have a look at this and make sure that I'm happy with the position of that socket tower, make sure it's not too low, not too high. Let's go ahead and bring this up a little bit. There we go. I think I'm happy with that. And I'll press zero again to go back to the camera view and then go ahead and lock our view to camera again. Okay, so with the top selected here, remember, the components, the other components are already parented to the top. So with the tops selected, I'm going to go ahead and press I to bring in a set of key frames like this. Okay, so I'm going to bring this over now to maybe frame 150 like this. And in this one now, I'm going to go ahead and bring this up to maybe this position like this. And I'm going to go ahead and press I again and put those in. So now we've got a set of keyframes for action for this item. So if we rewind on this now and we press play, let's see what happens. See if we're happy with that. And it's looking good. I'm pleased with that. That's looking really good. It's looking really slick. I think the only thing I might do different, I'll go ahead and hit Space bar, and I'll just select these keyframes here and I'll hold down the left mouse button and just maybe drag those to frame ten like this. Now let's hit the rewind and go back to the beginning. So now this won't start rising until frame ten. So the camera gets moving, and then this starts rising. So now let's hit Play on this. And there we go. That's better. So the camera gets moving, and then the tower starts rising. That's absolutely perfect. Please with that. Let's go ahead and hit Rewind on that, put that back to the beginning. And let's go over to our output properties here. Click on this. And let's make sure we're going to save this in the right place. So let's go ahead and hit hit the file here, and let's find the right file. So I've created some new ones here. So I've got five, six, and seven. So I'll go ahead and hit five like this. And I'm going to go ahead and bring this down so it is VID five like this, and I'll go ahead and accept. And there we go. That's cool. Let's just take a sec to sort of check the parameters over. So we've got 150 frames, as we can see here. That's correct. Let's go over to our render settings here, and we're running 300 samples, which is what we want. We got GPU supported. We're in cycles. And here on performance, let's make sure we got persistent data turned on. And with that, I think we're good to go. So with that done, let's go ahead and press Control L 12, and let's run our first render. Okay, so I'm just going to pause for a second while my computer renders this first one, and then I'll be straight back. Okay, so my computer's rendered the first image, and it's dropped in the right file. It's in number five here of Anime One, so that's cool. And it took 1 minute and 44 seconds for the first one, and it's just started rolling on the second rendering now. But I think this one is going to take last less. It's saying there's 23 seconds done, approximately 40 seconds left. So this first one's this second one's now going to come in at like 1 minute 15, 1 minute 20. So already we've reduced the time. Take a minute to have a look at your first couple of renders and just decide if you're happy with the image composure, you're happy with your texturing and your lighting before you go ahead and render the rest. If you're not, go ahead and hit the little cross sign. Make whatever changes you want to make. Go ahead and delete the first image from this file, and then go ahead and set it rendering again. I'm happy with this, so I'm going to let it go ahead and carry on rendering through. I'll see you back when this is done. So it's going to be the magic of TV, so it's going to take a couple of secs for this to happen. But in reality, I've probably got around 3 hours. But I'll see you back in just a s. Okay, so I'm back, and my computer's done that first set of renders. So let's just show you the first one. So there's the first render as we kind of saw it. And then the last one looks like this. And there we go. That's cool. So it's gone through those full stages of renders some 150. Alright, let's go ahead and close these. And now let's go ahead and do the next one. So first of all, let's go ahead and select our camera, and let's go ahead and delete the keyframes on the camera like this. And now let's select this and let's go ahead and delete our keyframes on this as well. And with that done, let's go ahead and move our camera now. Whoops, that's not the camera. Let's try that again. Let's grab the camera, and let's go ahead and move the camera over now and put that in position in front of the drawer now like this. So I'll go ahead and press G and Z and bring this down like this and go ahead and set this up as I want it. I'll go ahead and press just so I don't see that tab, and I'll just go ahead and maybe bring this out a little bit like this. Maybe rotate the camera a little bit. I'll press R and just bring that round to there, maybe pull it back a little bit like this. And I think I'm happy enough with that as my first image. So I'll go ahead and press I and bring my key frames in like that. Okay, so I'm happy with the first camera position. So let's go ahead and move our counter overnight to around 150. And now let's go ahead and bring our camera over like this to the final position, which I'm thinking will be I'll press G and Z and take that up, as well. Maybe over a little bit more like this and take it in a little bit in the Y and maybe take it up a little bit more, and Z. To something like that, I'm thinking will be my final image. So with that done, I'll go ahead and press I and put some key stops in there as well. Okay, let's hit the rewind and let's see that move through and see if we're happy with that as the camera movement for this one. And yeah, I think I am. I'm thinking pleased with that and the way that's going. Okay, so let's take that back to the beginning now, and let's go ahead and select our draw like this. And let's go ahead and press I and put in our first set of key frames like that. Now let's take it to something like 68 maybe somewhere around there. And then go ahead and pull the drawer out to about two thirds of the way out, something like that, I'd say, and then go ahead and press I on that one. Alright, I'm going to carry on moving this draw now forward or moving the counter forward to maybe 72, 71 72. And I'll press I again, and I'll put another set of keyframes in there like that. This is going to stop the draw for a couple of frames so that it comes out, pauses just a tiny bit, and then goes back in. So now I'll move the counter all the way forward to about 150. And now I'll go ahead and press G and Y and go ahead and move the draw back in to its final position, which is about there like that, I'd say. I'm going to go ahead and press N, actually, and I'm going to unlock camera to view for a sec and just have a look if I'm happy with the final position for that draw. And I am. So with that done, I'll go ahead and press I and bring in the keyframes and then I'll press zero and bring the camera back to view and go ahead and lock the camera. Okay, so in theory now, we have our drawer animated, so let's hit the rewind button, and let's see everything in action. So there's the drawer opening and the drawer closing. And that's cool. That's looking good. I don't think I'm happy with the camera. I'm going to take a second. The camera is moving too much. So I'm going to pause that, and I'm going to take that back to the beginning, and I'm going to select the camera, and I'm going to go ahead and delete these keyframes here like this. And I'll go ahead and move this note to, like, frame 150 again. And I'll take the camera and I'll just go ahead and move that. I'll go ahead and move that up now. I'll press G and Z, and just go ahead and take that up like this and maybe rotate the camera in a little bit. And maybe take it up a little bit more, I'll hit G and Z. And there we go. I'll stop that there, I think. I think I had too much movement with the camera, so I'll go ahead and press I and go ahead and put those keyframes in again. Remember, these are going to take a long time to render. So take your time and get them right. You know, if you're not happy, reconsider, go again. Just keep on tweaking the camera positions, tweaking your objects movements until you get exactly what you want before you hit Play. But in that case, now I think I'm happy, but I'll hit Rewind one more time, and let's take a look at it. Let's hit Play, see how it goes. And that's better. I'm happy with the way that draws moving. It never sort of moves out of frame during the movement of the draw, and it did last time. Kind of lost the draw, so that's cool now. I'm liking that. Alright, that's good to go. So I'll hit the space bar to stop this, and I'll hit the rewind on that. Let's go over to our output properties, and let's hit our little file here like this. And let's find this time six. And let's double click on this one. And let's hit the plus sign to get Vid six, and let's go ahead and accept Okay, so we've done that, and we've got 155 frames. We're rendering at two K resolution, and we have 300 samples, and performance, we have persistent data turned on. So we're all good to go there. We also have the reference images turned off and hidden in rendering. Okay, so let's go ahead and press Control Fwelve and let's see this go. So I'll just pause this for a second, and I'll see you back in just a second. Okay, so I'm back again, and it's rendered out its first image, and that was 1 minute and 44 seconds, but this one is already looking like it's gonna reduce to maybe 1 minute 30, something like that. And it's gone ahead and saved this in the right place. And then looking how this looks, I'm happy with these. These are looking really nice. So I'll go ahead and let this render this out, and I'll see you back when this is finished. Okay, so I'm back again, and my computer's rendered out this set of animation, this set of renders for this one here. So my first one looks like this. And then I'll show you the midpoint because the end basically looks the same again. So the mid one looks like this with the drawer open, our dovetails in plain view, and then the last one looks like this. So that's cool. That's looking great. I'm pleased with that. So let's go ahead and close these, and let's go ahead and do now our last animation. Let's select a draw here and let's go ahead and delete our keystops. Just like that. And let's select the camera now, and let's delete those key stops, as well. There we go. That's cool. And now let's go ahead and move our camera over now to its final position in front of our larder. So I'll press and bring this camera around to something like this, making sure it's nice and square to the larder and sort of center to it. And I'll press G and Z and go ahead and bring this up like this. And maybe take this camera back a little bit like this. And let's have a look at our focal length. And we're currently at 30 mil. I think I'll increase that to maybe a 35 mil. There we go. And I'll bring the camera back a little bit more. I don't want to see the whole of the larder top to bottom, but I just want to see maybe these top three drawers and then this corny at the top. So you get an understanding of what you're looking at. And now that I've done that, I've got the camera selected. I'll press I and I'll bring in my first keystops like that. Okay, we may need more frames for this one. We'll see how we go, but for now, we'll leave it around 150. Let's bring the timer over now to the 150 mark. And now let's go ahead and bring our camera in to something like that. I'd say. Maybe I'll take it up a little bit. I'll press G and Z and go ahead and bring the camera up a little bit to something like that. And then I'll go ahead and press I again and put in my second set of keyframes. Let's hit the rewind and let's hit Play and just see what that looks like. And that's cool. Again, I want subtle small movement because the feature here is going to be the opening doors rather than the sort of the movement of the camera. And I think I'm pleased with that. That'll be absolutely fine. Alright, let's hit the space bar, and let's say the rewind to take our counter back to the first frame. And now, let's go ahead and select the door. And let's go ahead and rotate that. Let's press Az and just see how it's going. And I've got an issue there. The handles are staying behind. I did pair in the handles, but I think because the handles are parented to this top pivot point here, they're not moving. So I need to fix that. I think the easiest way to fix it is just go ahead and select the handle, hold shift, and select the door and let's make them one object. So let's press Control J and go ahead and join those into one. Let's do the same with this one. Let's select the handle. Then let's select the door and let's press Control J and join those into one. Okay, so the next thing we need to do is actually get these doors opening in our animation. So I think, first of all, go ahead and slide the counter to about ten, I'd say, and then make sure your first door is selected, and go ahead and press I and bring some keyframes on this one. Go ahead and select this one and bring some keyframes in on this one. Now let's move our counter over now to something like 75, something like that. And select this door and press z90, and the doors actually swung the wrong way. So hit the minus key on your numpad to make sure it swings the right way like that, and then press Enter and then press I and insert your key frames on. Let's grab this one here, and let's press zed. 90, enter, and press to insert your keyframes on that. Let's hit the rewine now and see this play, and let's see how it looks. And there we go. That's looking good. So there's our sort of first step with the door. Let's go ahead now and take this over to the 150 mark like this. And let's go ahead and unlock camera to view and swing around a little bit. And let's select both doors together. If I can get the right angle. There we go hold shift and select both of them. And take that in the Y axis like, something like that, I would say, that's good. And with a counter there at 1:50, go ahead and press I and bring your last set of key stops in like that. Okay, let's press zero to see this from camera view. Let's go ahead and lock our camera to view again. And let's go ahead and rewind on that, let's hit Play and see what we get. And that's looking really good. That's exactly what I want. So those doors are opening nicely and then sliding back into the pockets. That's absolutely perfect with the camera moving in, as we know. But we got one more thing to do on this one. The lights are permanently on on this. So let's hit the space bar to stop this. And let's go back to frame one. And let's do a save to save our progress. Let's press Controls, just in case we get a crash when we do this. And let's go ahead and turn on full rendered mode. Okay, I'll take a second to do this for us. And there we go, that's cool. Okay, so now we're back in full rendered mode, and we can go to our lights here and let's go ahead and turn our larder lights back on. So let's hit the little ebl and let's hit this so that they're rendered in sing. Straightaway, you can see that the lights are on inside this cabinet with the doors closed, and that's just not the way it would be within a kitchen. There'll be a nice little switch somewhere to turn those lights off when the doors are closed. So let's see what we can do to fix this. So let's move over here to here like this. And let's go ahead and turn this power down to zero. And let's just click, left click on this one here to add a keyframe in at one. Now, let's go ahead and move this over to something like maybe 35. And let's slide the power now up to on the lights to maybe a ten and with that done, let's go ahead and add another key frame there like that. Let's hit the rewind on this, and there we go. So the lights are off in the cabinet right now. And between frame one and frame 35, the power will go 0-10 watts on those lights just gently fading in as it goes. So let's hit Play and see that in action. There we go. So the lights come on as the cabinet doors open, and then the cabinets slide in. That's absolutely perfect. That's exactly what I want. I love it when a plan comes together. That's absolutely perfect. So I'm going to hit pause quickly before I crash my computer running that. And I'm going to go back to shaded view like. Okay, so let's take that back now to frame one. We've got everything set up within this. And let's go back now to the output, and let's find where we want to save this. So let's hit our little file button. And let's find seven. Let's double click on this and then hit this little plus sign to call this Vid seven and then go ahead and accept it. Let's check everything through here, so we're running a two K frame. We're running 155 frames. Let's go over render settings, 300 samples, and persistent data is turned on. And yeah, we're ready to go. Let's just go ahead and check, make sure everything's good again, and everything's good. There's nothing to worry about. We've still got reference images turned off or all good. Let's press control and do a save on this one last time. And as soon as that's done, let's go ahead and press Control F 12 and cross our fingers. Okay, and I'll see you back in just a sec when this is rendered out. Okay, so I'm back again, and it's rendered out the first image, and it took 1 minute and 49 seconds, but this next one's looking like it's gonna take around the 130, so that's better. And the lights are off in our cabinet, so that's worked out great. And I'm liking the way it's framed. We've got a little bit of the baskets here. We've got a little bit of the curtains. It's looking great. It's saved in the right place, as well, that's all good. So we're good to go. I'm going to go ahead and leave this render out. It'll take maybe about 3 hours. But I'll see you back in just a sec with the magic of TV. So I'll see you in a sec. Okay, so my computer's finished rendering those out now. The first one, as we know, we've just been looking at that looks like that. And then the last frame looks like this. So that's really that's worked out nicely. I'm liking that the doors are in the open position, the lights are on illuminating the cabinet. That's absolutely perfect. Okay, so this has been a long lecture, probably the longest lecture we've done. But I just felt we should sort of get through this in one lecture. And obviously, for all of us, there's been some very long pauses in reality, as you've been rendering out those blocks of animations. But hopefully, you've learned tons, and I'll see you in the next lecture. Well, we'll start editing all of this together to create our sort of approximate 32nd long video of our kitchen. Thanks very much. And I'll see you in the next lecture. Bye bye for now. 85. Lecture 84 Video Editing Part 1: Hello, and welcome now to Lecture 85. And so we finished all our animation. So all our sets of renders that we'll make into animations there are all done now. And I think I've got seven. Let me count one, two, three, four, five, six, seven, seven, yes, we got seven. And what I've done, I'm just going to drag in my files here. I'll just pull these in like this for a second. And all I've done, if you remember, we had it sort of listed as one, two, three, four, five, six, seven. Ignore the archive one. That's just my way of I always put an archive file in, so if there's anything I don't want to delete, but I don't want to use, then I just put in. So I've renamed them just to give them a basic explanation of what each one is. So this one is table to island, which was the first one we did. This one is a sweep left to right. This one is power socket rising, the oven, full rotation of the room, drawer opening, and larder opening. So I've got all those sort of rename now so I have an understanding of what they are. And I kind of suggest you just take a minute to do that. Alright, let's take this out of the way then. And so we're finished now with the timeline here. We've done this and we've done a lot of rendering. So our next place to visit is video editing. And here in the preset, it's not actually there. So if you go ahead and hit the plus sign here like this and come down to video editing and then go here to video editing and go ahead and click on this. And I mean, Blender is full of surprises. It's just got so much going on. So now we're into Blender's own video editing suite. I mean, it's not just a three D modeling piece of software. It just does so much. It's brilliant. Anyway, sorry, I'll stop my sider rant for a minute and get back on track. So yeah, we have our video editing here. So this is our standard viewport, and this is a blender browser of files. And this is our editing panel here. So let's just grab this point here and bring this down a little bit to increase the size of our viewport, and there we go. So kind of the first thing I want to do is while we were rendering, we set our timeline out to measure in frames, didn't we? So let's set this out in frames as well so we can relate to the renders. So come over to view here and click on this and go ahead and click on USE Timecode. And now the video editing is set up in frames rather than seconds. After all, we kind of know how many frames we have in each sequence, so it just makes it easier for us to relate to. Okay, so now that we've done that, we need to go ahead and increase our frame range because at the moment, it's set at 156, I think we're going to be running close to 1,000 frames. So let's go ahead and whack this over real high to around the thousand mark. We can always bring this down or take this up as we go. But as a starting point, put it around 1,000, but I'm not precious about it somewhere around there. Alright, so this is kind of ready to go now. We can start bringing in our render sets now. And that is real easy to do. Let's go ahead and press Shift A and come down to image sequence and click on that. Okay, let's go to where our render sets. Here's mine Anime one. I'll double click on this. And here's our files with all our render sets. So I think I'll start with this one. This is the very first one we did together, table to island. So I'll go ahead and double click on this. And you see here, it says channel. So here on this listing here, we have channels all set up for us. So I'm going to bring this in on Channel two, I think. I'm going to leave a space underneath it just in case. So I'll go ahead and put that in Channel two like this. I'll press A to select all of these and go ahead and add image strip. And there we go. That's come in. So again, we can move our counter over and we can see this, and this is working nicely. But it's actually running in reverse, so we can do something about that. So if we go ahead, make sure it's actually selected, and then come over to this side and click on video and expand that. And here, go ahead and reverse frames, and there we go, that's done. We can now take this back to the beginning. And we can just tap Spacebar and we can see that play. And there we go. That's cool. That's great. That's looking great. So I will take that to the last frame, which is looking at it, I would say, probably 120 if I can get to it. There we go. Or maybe it was 121, but thereabouts. Now, I want my next sequence that I bring in to slightly overlap this one because we're going to blend these video editings together to just soften the jump from one to the other. So let's bring this back ten frames, which is just under half a second. So we'll put this on one, ten like this, ten frames from the end of this video sequence. And with that done, let's go ahead and press Shift A. Let's bring in an image sequence. And let's go back now, and let's find which one we want to bring in next. So we've done table to island, so I think I'm just going to work up, and I'm going to do sweep left to right. So I'll go ahead and double click on this. I'll press A to select. And I think I'm going to bring this in this time on Channel three. So I'll go ahead and just up this to Channel three. So it's going to come in just here like this. I generally leave channel one empty in case there's anything else I want to add at a later date. So with that done, I'll go ahead and add the image strip, and there we go. That's cool. It's probably running in reverse. Let's take a look and it is. So with it selected, go ahead and auto reverse, and there we go. So now we jump from this one, and here we jump to this one and then we pan across the room nicely. That is cool. That's working nicely. So I'm going to go ahead and scroll the mouse wheel so we can see more frames like this. I'll go ahead and just move the slider over to reposition this to the left like this. There we go. That's cool. So now we can kind of see up to 850 frames. So I'll move my counting out to the end of this sequence. So it looks like kind of 249 was the last sequence. Let's jump back ten, so that'll be 239. There we go. That's cool. And with that done, let's go ahead and press Shift A. Let's bring in another image sequence. And we've done these two, so we're on the oven now, so I'll double click on that and I'll press eight to select all of them. And this time, blends anticipated it, bringing it in on Channel two, that's spot on. So I'll go ahead and add image strip, and there we go. So let's have a look at This one. We probably need to set this in reverse. We do. So go ahead and reverse frames. And now this one starts at the base of the oven and rotates up and just swings around like this to the view. And that's great. I'm loving that. Okay, let's set this again at the end, so that's 425. Let's move back ten frames, so that's 415. There we go. That's what we want. Let's press Shift A. Let's add image sequence. And so we've done oven. So now we are on full rotation. Let's go ahead and double click on this. Let's press A, and we want to bring this in on Channel three, and Blenders done it for us, Fades. Let's go ahead and add image strip, and there we go. Alright, let's have a look at this one. We probably need to reverse it, and we do. So let's go ahead and hit reverse film, or do we? So I did run it. I'll admit, this is where in the timeline, this is where I started from this angle. But now I'm looking at it. Maybe I do prefer it starting at the window and moving this way. I think I do. I'm not gonna reverse that one. I'm just going to call that a lucky fluke, and I'm going to leave this one that way. I think it just works better. So let's go ahead and take this back to the last frame, which is 688. So let's take that to 678. There we go. That's cool. Let's press Shift A. Let's bring in an image sequence, so we've done full rotation. So the archive is nothing. So now we're on to power socket rising. Let's go ahead and double click on this. And channel two is correct. We want to bring it in on that. Let's press eight, select all and add image strip, and there we go. This one probably does need reversing. It does. I'll go ahead and reverse frames, and it'll start here like this. And then the power socket will rise up. That's really cool. I'm liking that. I might just slide this one over a little bit because I don't want to lose too much of that. This is one of the reasons why I didn't set the object to rise from frame one. I left it to frame ten to give us that half second before it rises, and that's worked nicely there like that. Okay, let's take this to the end now. So that is 81, so that will be 799. There we go. Let's roll the mouse wheel to compress this a little bit and go ahead and slide this over again to the start. And with that done, let's go ahead and press Shift A, and let's add image sequence. And now we'll go and find a drawer opening. Let's double click on this. Let's press eight, select all of them. Check that blends got it right. Channel three is correct and go ahead and add image strip, and there we go. So it is running in reverse, I'd imagine. I think it is, yes. So I'll go ahead and click on reverse film, and there we go, that slides over now, and the drawer opens, we pan up and the drawer closes. That's great. Okay, let's go ahead and take that to the end now. So that is 940. Let's take that back to 930. And let's go ahead and press Shift A, and let's bring in the last image sequence. So let's find our larder opening. There it is. Double click on this. Let's press eight to select all. Channel two is correct and add image strip. Okay, let's go ahead and click on the Auto reverse frames, and now that's working out great. Okay, let's see what we've got. So our last frame is 1,083. So what I'm going to do, I've got the calculator open on my phone. So we have 1083. Or you may have something slightly different, but that's what I've got. And I'm going to go ahead and divide that by 24 because we're having 24 frames per second and go ahead and equals, of course. And that is exactly 45 seconds of animation. So I was planning on around 30. Am I happy to leave it at 45? Is there anything I can do to shorten this? Let's just have a look at this video. So I want to leave this in, and I can do nothing with that. I want to leave that in, I can do nothing with that. And this is nice, too. And I think this is a valuable one here. I'm liking that. That just tells the whole story, pans around the entire kitchen. That's good. And we need a little bit of focus on the oven after all the time you put into it, so that needs to stay. Um, so this one and this one, these are the two that if I was gonna lose any, these are the two I would lose. And I think this one is really basically the same as this kitchen rotation, not the same but close. They're basically doing the same job, are they? So I don't really want to delete it. It's just there's so much work in them, being honest. But I think I do need to reduce this a little bit. I mean, I can shave a second off each of these. I can maybe just shorten some of these, et cetera. But is that gonna make much of a difference, really? So the overall I mean, here, we could just stop a little bit earlier on this rotation. We could stop about there, say. And then I could pull this over like this. I actually do it for you. Pull that over to there, like that. And now we could go ahead and grab all of these a whole shift and select all of these. And then I'll just pull them over to maybe let them overlap a bit. And now it sort of comes to here, and then we come around from there. So now we're not seeing the outside view. So I'll do that. I'll just shorten that one. I'll leave that like that. Yeah, that's helped a little bit. What are we on now? We are on thousand 34. That's gonna have made no real difference, I don't think. We were on 1083 before. So I think we've shaved maybe about 1.5 seconds off something like that. I think I'm going to go ahead and delete this one. I'm going to grab this one. I'm gonna press Delete and get rid of it. I'm going to grab this one here, hold down the left mouse button, and just push that one up one channel to there like that. Let's go ahead and grab all of these like this. Hold down the left mouse button, and just pull those over and just let those overlap and estimate the sort of ten frames like that. Now, where are we at? So now we're at about 908, so I'll just do my calculation on that. 908/24 equals 37 seconds. That's slightly better. We've shaved second. We've shaved around 8 seconds off it. I'll leave it at that. I think that's fine. So let's look at our sequence now. Do we want to move any of these around? Or am I happy to leave this in this sequence of animations? I mean, if you want to at any stage now, pull one out and switch it for another one, maybe you don't want all the videos of objects moving running in sequence at the end here. Maybe you want to mix these around. It's sort of completely up to you. For instance, we could pull this one down like this, move this one over like this, slot this one in like this, and then move this one over and push this one up and just reconfigure these again. Move this one over like this and whole shift and select all three of these and now go ahead and pull these over. Am I happier with this starting here, moving across. That's a nice introduction to the room, that one. And then we go to the socket rising. That's nice. Because we end here at the table, and now we go to this. So that's quite cool. Then we go for the full rotation of the room. Then we go to the oven. Then we go for the drawer open. I think what I'm going to do actually is I'm going to drag this one. Whoops. Gonna drag this one down like this. And you grab this one, pull this one over, and just bring this one down like this, and maybe bring this one in now over here. Snap this up like this. Oh, sorry, guys, I sort of just doing this on the wing, really. Maybe snap this one in because I don't think the larder is a good final video because, although I love it, you need something panning over the view or just panning over the whole scene as your last sequence. So this one does that. This one ends with a pan over to our beautiful view, and that's a nice finish to it. Um, I'm going to leave that like that. So take a while and organize the sequence of your animations. And I think for me now, I'm happy with that. I can go ahead and just make sure I've got a nice little overlap on these of approximately 10 seconds. But I think I'm going to leave that like that. So I think the last thing we'll go ahead and do in this lecture is come back to the frame range now and go ahead and reduce this until the frame range is just on the end of our last sequence. Which is I would say about there like that. So that is 897. And now I'm just going to take that forward ten. So that's going to be 907. I'll just take that to 907, and there we go, I'll leave that like that. Okay, so I'm just going to go ahead and press Shift, eh, and go ahead and save our progress. And with that done, I'll see you in the next lecture where we're going to do a little bit more work on this. So we're going to create a fade at the start and the end of our video sequence. We're going to do some blends between these to soften the sort of the merger of these sequences. And then we'll look at adding a soundtrack to this, as well. Okay, thanks very much. And I'll see you in the next lecture. Bye bye foro. 86. Lecture 85 Video Editing Part 2: Hello, and welcome now to Lecture 86. In this lecture, let's see if we can finish off our video editing our animation. So in the last lecture, we went ahead and brought in all our sets of renders, and we've got it down to, I think, around 37 seconds. And we've sort of constructed this and formatted how we want this to look. But I think there's one thing I want to do. I want to switch this one for this one. So I'll just go ahead and grab this one and pull it down to channel one and slide it over, and then grab this one, put this one to about here like this. Slide this one over a little bit, and then grab this one and take it up and go ahead and slide this over as well, and just sort of guesstimate a nice overlap between these. Go ahead and grab this one now and then this one, just this one and this one, and pull those over a little bit like this. And it looks like I need to sort of just extend my frames, so I'll go ahead and over to frames here and just go ahead and take this up until that covers the end like that. Frame number 905. So now we have this how I personally want mine. And again, you can go ahead and construct or edit your set of renders in any way that you want to. For me, I think I'm happy with that sequence now. I think that's looking good. Okay, so the next thing we need to look at is how this is starting and how this is finishing. So it looks like for a start. If I take this to frame one, it looks like my sequence is actually not on frame one, so I'll grab a selection window around all of them and just move those over until that's on frame one like that. There we go. That's cool. Alright, so first thing I need to do is bring a fade in into this so that when it fades, it doesn't just snap in, it sort of fades in from one. So let's see if we can do that. So let's go ahead and put a select this one here, and let's right click and let's add a fade and a fade in on this one like this. And we can go ahead and hit this little drop down here. And at the moment, we have a 1 second fade in on this. I'm going to leave that at 1 second. Now if I go back with my counting now, you'll see that it sort of just fades out and that's nice. But you can see this isn't really what we want. We've got this kind of checkered appearance now, and that's not what we want either. We want a color there, so that's easy to do as well. So let's go ahead and write click. And so let's press Shift A, and let's go ahead and bring in a color. And it's in on channel one, and it's good. It's starting on frame one. That's exactly what we want. That's fine. So let's have a look at that now and slide that over, and it fades from black into sort of the first frame. That's exactly what we want. Okay, so that's looking good. That's sort of fading out nicely. I'm liking that. So let's have a look at the other end here. At the moment here now, we kind of end up as I want just with the view like that, but I'd like to kind of dwell on that nice view for just a second. So what I'm going to do is just hover over the back end here of this one and just hold down the left mouse button and drag this out like this so that we just extend the back end. And now we'll get a sort of frozen frame there just at that point. And that's what I wanted because I wanted to kind of fade out at that point. Let's go ahead and extend our frame range. Let's take that back again now so that covers the very back end of everything. And there we go. That's cool. And let's just right click on this one. Let's add a fade, and we're going to add a fade out. And it's currently set at about 1.5 seconds. Maybe I'll increase that to maybe 2 seconds. Let's have a look. There we go. That's about 2 seconds, and that's fine. Let's have a look at this. Let's move the counter over this. And yeah, that's fading out. That's what I want. That's really nice. Okay, so let's just grab this color here now, and let's press Shift to D, and let's bring a copy of this over to the other side and plunk it just there like that. But then let's get to this side and drag this side over so we've got color to about there. So now this end sort of fades out to black, and that's what we want. That's perfect. Okay, so we've got a fade in and out, and that's working nicely. So the next thing we need now is a nicer transition between these because at the moment, they kind of just snap, see? They just snap. And that's not nice. We need to do, like, a softer transition between these. And that's really easy. Just select this one like this. So select the lead in one, then le shift and select the lead out one. With those two selected, right click and add a transition, and I'm going to add a cross transition. And now, if we just move our counter over, you'll see that there's a soft transition between these, and that's what we want. That's perfect. So I'll do that again. I'll just grab this one whole shift, select this one, right click, and add a transition, and I'll add a cross transition. And that should have worked. Let's have a look at that. And this is something that we get sometime, this weird little glitch, and it seems to be just a glitching blender, but we still need to fix it. So what I would do is select this transition and come over here to this one here, to strip and come on down here to the effect strip and just switch these over. So just hit this little arrow like this, and that should have resolved that issue. Now it should be sort of working nicely. And it is. Now it's just crossing over exactly how we wanted. Okay, let's select this one now. Hold shift and select this one. Let's right click and add a transition cross, and let's have a look at that, see if that works. And that's working fine. Now let's select this one, le shift, and select this one, right click and add a transition cross. And let's see if this one's working nicely. And that one is, that's working great. And now let's select this one, le shift, select this one, right click and add a transition cross. And let's just take this timeline over and this one's doing it as well. It's kind of going from that to that, back to that and then back to that. It's a bit weird. So make sure this one is selected. Come over to the effects strip and just hit this crossover like this. Let's see if this worked here, and there we go, that's work fine no. So there we go. There's our sort of our animation done. We've got all our transitions in. We've got our fades in and our fades out with a color to support those fade ins. So I think the only other thing we need to do now is bring some music into this. So let's go ahead and do that. So what I'm going to do for a minute is I'm just going to go ahead and bring my music in. And I'll just drag this in like this. So, I can't supply you with music. Legally, I can't do that because of copyright laws and infringements and all that kind of thing. But to be honest, it's far better that you choose your own music for this. Be music is deeply personal, isn't it? You know? It's really subjective, so I think it's ideal that you go ahead and choose your own music. I thought I'd show you this website. It's called free sound, and this is where I track down a lot of my music, but also sound effects. There's gunshots, there's creaking doors, there's spine chilling stuff. There's bird song, there's everything on here. So this is where I go ahead and find most of my stuff. And again, it's free to download these, go ahead and rate them. And if you do publicly put these out on, let's say, social media, make sure that you attribute the sound to the artist. So I'll show you how I do that. So if I go over to the one I'm going to go, so it's this free sound, this one here. So this is called Relaxation Music 69. And I've already downloaded this, but this is what I click Download. Make sure you rate the music. And you can go to here to get attribution, and then you can copy this and then make sure you also copy and paste this into your social media posting so that the music is attributed to the artist. Alright, so that's cool. That's what I've already done. I've already downloaded this, so I'll go ahead and hide this one. And so the next thing I need to do is go ahead and bring some music in. So I'm going to press Shift A, and I'm going to bring in sound. And my music is right here in downloads right now, and it's this one here, and I'll go ahead and add the sound strip, and there we go. I'll bring this up where I want it about here, and the music is a lot larger than the actual video. So I'll just bring this over to where I can see it's really starting to ramp up about there, I would say, and then just grab this side and pull this side back into our timeline and grab this side and pull this side in as well. Okay, I'll scroll the mouse. We ought to make this bigger again, and I'll just trim this some more and trim this some more. And let's just have a little listen to this and see what we think. That's sounding really good. I'm liking that. Now, this one isn't too loud, actually. But if you bring music in, you're finding it too loud and too overpowering, what you can do is go ahead and click on the object here on music, add a modifier and add a sound equalizer. Now you can go over to the modifiers here like this, and I'll just pull our counter back a little bit, and I'll play again. Grab the equalizer here and go ahead and pull this down like this, and we can soften and adjust the volume on our music. Until it's at a point that I'm happy with it, which is about there, I would say. It's not overpowering. It's just in the background making you feel good. Okay. So there we go. That's our music in place. I'll go ahead and hit pause again. And I'll ahead and select this, and I'll right click and I'll add a fade, and I'll add a fade in. And this is currently 2 seconds. So I'll go ahead and reduce this to maybe 1.5 second dish. There we go. And now I'll right click again, and I'll add a fade out. But for this one, I'll go ahead and increase this one, take this up to nearly, let's say, about 2.5 minutes, something like that. And with that done now, that is basically our finished edited video. So all that really remains to do now is to go ahead and render out our video. So let's first of all, make sure we're saving it in the right place. So let's keep it at a two K resolution, and let's come down to where we're going to save it here in output. And let's hit our little file thing here. I've created a new file now and it's called Finish VID. I'll go ahead and click on this. And I'll go ahead and reduce this to Vid one. There we go. So it's Vid one in finished Vds, and I'll go ahead and accept. Okay, so we've got it saved in the right place now. So now we need to make sure that we're saving in the right format. So come on down to file format now and go ahead and drop this one open. And let's put this in FFPEG video. Let's go ahead and assign that as our group. Let's move down a little bit to encoding. And here where it says Matroska open this one up and put this one in as MPEG four. There we go just there like that. Next thing you want to do is audio. Come down to audio, assuming you're putting a soundtrack on this. If you're not, then leave it no audio, but if you are, go ahead and click on this and put this on AAC. And there we go. That's all set. Now that's ready to go. Alright, so that's that all finished. We've got everything set out here we want, and we've also assigned this to where we want to save, and we've got it in the correct format. So all that's left to do now is go ahead and press Control F 12 and go ahead and set this to render. And it will appear slightly jerky. Don't panic. This is just your computer formatting this as it's going. This is not how this will run in real time when this is a video. But this is looking good. I think since this is our last time doing this, I'm not going to pause. I'm just going to go ahead and let this run through. And it's looking really good. I'm really pleased with the way this looks. This looks like a kitchen I'd like to be in, I must admit. Okay, so we're nearly there. It's nearly finished rendering this out. And I like this particular detail as well. I like this the larder. This is looking really good. And this oven, I think, is one of my favorite things we've created. It looks fantastic. And then we're gonna stop looking over this awesome view. How cool is that? Super cool. Awesome. So there we go. That's all done. We've finished rendered that out. And really, this marks the end of the course. So in the next lecture, let's go ahead and look at our finished video together and see what we think. Thanks very much. I'll see you in the last lecture. Bye bye for now. 87. Lecture 86 Well done Rev 2: Hello, and welcome to Lecture 87. And I think the first thing I've got to say is well done. Well done to absolutely everybody that has finished this course. And if you're watching this lecture and you've finished, you need to be very proud of yourself because it's super cool what you've done. It's super cool what you've all done. And I really hope that you've enjoyed it. I know I've really enjoyed sort of doing this lecture for you guys. Ultimately, this is about you and what you've done here. So I'm really proud of you guys. And I hope you're also really hooked on Blender now, and I hope you continue to use it. I hope this is the tip of the iceberg for you, and I hope you go on to do some amazing stuff with Blender. And maybe who knows? Maybe I'll see your stuff out there in the future. So all that really remains for me to do is thank you very, very much for following along. And just again, to say how proud I am of you all. And what I'm gonna do now is go ahead and press Play Mon video and play that out and just say one more time. Thank you so much, guys. I'll see you around. Bye bye for now.